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+*** START OF THE PROJECT GUTENBERG EBOOK 30248 ***
+
+Crayon Portraiture.
+
+
+[Illustration: FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER--STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT.]
+
+
+
+
+CRAYON PORTRAITURE
+
+COMPLETE INSTRUCTIONS FOR MAKING CRAYON
+PORTRAITS ON CRAYON PAPER AND ON
+PLATINUM, SILVER AND BROMIDE
+ENLARGEMENTS
+
+ALSO DIRECTIONS FOR THE USE OF
+TRANSPARENT LIQUID WATER COLORS
+AND FOR MAKING
+FRENCH CRYSTALS
+
+
+BY
+
+J. A. BARHYDT
+
+AUTHOR OF ARTICLE ON CRAYON PORTRAITURE IN
+_Appleton's Annual Cyclopedia, 1890_.
+
+
+Illustrated
+
+_Revised and Enlarged Edition_
+
+NEW YORK
+THE BAKER & TAYLOR CO.
+33-37 E. 17TH STREET, UNION SQUARE NORTH
+
+
+COPYRIGHT, 1886 AND 1892
+
+BY J. A. BARHYDT
+
+
+ROBERT DRUMMOND, PRINTER, NEW YORK
+
+
+
+
+PREFACE.
+
+
+In issuing this second treatise on Crayon Portraiture, Liquid Water
+Colors and French Crystals, for the use of photographers and amateur
+artists, I do so with the hope and assurance that all the requirements
+in the way of instruction for making crayon portraits on photographic
+enlargements and for finishing photographs in color will be fully met.
+To these I have added complete instructions for free-hand crayons.
+
+This book embodies the results of a studio experience of twenty-four
+years spent in practical work, in teaching, and in overcoming the
+everyday difficulties encountered, not alone in my own work, but in
+that of my pupils as well. Hence the book has been prepared with
+special reference to the needs of the student. It presents a brief
+course of precepts, and requires on the part of the pupil only
+perseverance in order that he may achieve excellence. The mechanical
+principles are few, and have been laid down in a few words; and, as
+nearly all students have felt, in the earlier period of their art work,
+the necessity of some general rules to guide them in the composition
+and arrangement of color, I have given, without entering into any
+profound discussion of the subject, a few of its practical precepts,
+which, it is hoped, will prove helpful.
+
+While this book does not treat of art in a very broad way, yet I am
+convinced that those who follow its teachings will, through the work
+they accomplish, be soon led to a higher appreciation of art. Although
+this kind of work does not _create_, yet who will say that it will not
+have accomplished much if it shall prove to be the first step that
+shall lead some student to devote his or her life to the sacred calling
+of art?
+
+It has been said that artists rarely, if ever, write on art, because
+they have the impression that the public is too ill-informed to
+understand them--that is, to understand their ordinarily somewhat
+technical method of expression. If, therefore, in the following pages I
+may sometimes seem to take more space and time for an explanation than
+appears necessary, I hope the student will overlook it, as I seek to be
+thoroughly understood.
+
+My hope with reference to this work is that it may prove of actual
+value to the earnest student in helping him reach the excellence which
+is the common aim of all true artists.
+
+                        J. A. BARHYDT.
+
+
+
+
+CONTENTS.
+
+                                                                  PAGE.
+
+Preface                                                             ix
+
+Crayon Portraiture                                                  15
+
+Photographic Enlargements                                           19
+
+Crayon Materials                                                    22
+
+The Specific Use of Crayon Materials                                25
+
+The Strainer                                                        30
+
+Mounting Crayon Paper and Platinum and Silver Enlargements          32
+
+Mounting Bromide Enlargements                                       37
+
+Outlines--Negative Outline                                          39
+
+Magic Lantern Outline                                               42
+
+Transfer Outline                                                    46
+
+The Metroscope                                                      47
+
+The Pantograph                                                      49
+
+Crayon Effects--The Four Methods of making Backgrounds              51
+
+Free-hand Crayons and those made from Photographic Enlargements     53
+
+Filling in the Free-hand Crayon                                     55
+
+Line Effect                                                         57
+
+Stipple Effect                                                      59
+
+Backgrounds--General Principles                                     62
+
+First Method of making the Background--Stump Effect                 65
+
+Second Method of making the Background                              66
+
+Third Method of making the Background--Line Effect                  67
+
+Fourth Method of making the Background--Stipple Effect              70
+
+Face--Line Effect                                                   72
+
+Dress--Line Effect                                                  76
+
+Bromide Crayons                                                     78
+
+Finishing Bromide Enlargements                                      82
+
+Monochromes                                                         88
+
+Values                                                              89
+
+The Studio                                                          93
+
+Framing                                                             95
+
+Passepartout Mounting                                               97
+
+
+TRANSPARENT LIQUID WATER COLORS FOR COLORING
+PHOTOGRAPHS.--MATERIALS REQUIRED IN THEIR USE                      101
+
+Theory of Color                                                    103
+
+Colors                                                             106
+
+Yellow                                                             106
+
+Blue                                                               107
+
+Rose                                                               108
+
+Violet                                                             109
+
+Magenta                                                            109
+
+Flesh                                                              110
+
+Brown                                                              110
+
+Black                                                              111
+
+Gold                                                               111
+
+Instructions for using Liquid Water Colors                         112
+
+Drapery                                                            114
+
+Landscape                                                          116
+
+The Principle                                                      117
+
+
+FRENCH CRYSTALS                                                    123
+
+Materials                                                          124
+
+The Method                                                         125
+
+Mounting French Crystals                                           126
+
+Finishing Photographs in India Ink                                 128
+
+Conclusion                                                         130
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE.
+
+Free-hand Crayon made on Steinbach Crayon Paper with a
+Magic Lantern Outline, showing Stipple Effect in Face
+and Drapery and Broken Line Effect in Background         _Frontispiece_
+
+Negative Outline--Dark Chamber                                      40
+
+McAllister's Magic Lantern, No 653, with Wonder Camera
+  Attachment                                                        42
+
+Magic Lantern Outline                                               43
+
+Lines to produce Stipple Effect                                     60
+
+Background--Line Effect                                             67
+
+Line Effect for Face                                                72
+
+Line Effect for Dress                                               76
+
+Crayon executed over Bromide Enlargement made from Original
+Negative, showing Stipple Effect throughout                         80
+
+[Illustration]
+
+
+
+
+CRAYON PORTRAITURE.
+
+
+To many who know nothing about the art of crayon portraiture, the
+mastery of it not only seems very difficult, but almost unattainable.
+In fact, any work of art of whatever description, which in its
+execution is beyond the knowledge or comprehension of the spectator, is
+to him a thing of almost supernatural character. Of course, this is
+more decided when the subject portrayed carries our thoughts beyond the
+realms of visible things.
+
+But the making of crayon portraits is not within the reach alone of the
+trained artist who follows it as a profession. I claim that any one who
+can learn to write can learn to draw, and that any one who can learn to
+draw can learn to make crayon portraits. Making them over a
+photograph, that is, an enlargement, is a comparatively simple matter,
+as it does not require as much knowledge of drawing as do free-hand
+crayons. But you must not suppose that, because the photographic
+enlargement gives you the drawing in line and an indistinct impression
+of the form in light and shade, you are not required to draw at all in
+making a crayon portrait over such an enlargement. Some knowledge of
+drawing is necessary, though not a perfect knowledge.
+
+Many people err in supposing that only the exceptionally skilled can
+produce the human features in life-like form upon the crayon paper.
+While recognizing great differences in natural aptitude for drawing in
+different persons, just as those who use the pen differ widely in their
+skill, some being able to write with almost mechanical perfection of
+form, I still hold that any one who is able to draw at all can succeed
+in producing creditable crayon portraits; and the lack of great skill
+as a draughtsman, should neither discourage a student nor debar him
+from undertaking to make crayon portraits (over enlargements, at
+least), either as an amateur or professional. To make a crayon from
+life undoubtably requires considerable talent and some education as an
+artist; but photography, in recent times, has made such advances from
+the old fashioned daguerreotype to the dry plate process and
+instantaneous exposure, and such developments have recently been made
+in the field of enlargements and in photographic papers, that it is now
+possible for anyone, who will carefully follow the plain instructions
+given in the following pages, to make a good crayon portrait by the aid
+of the different kinds of enlargements. These place in his hands a
+perfect reproduction of what he wishes to make; and care and close
+attention to details will insure the rest.
+
+The student, however, must have courage. I tell my pupils not to be
+afraid to work freely; that if they spoil their work beyond their
+ability to redeem it, I can always fix it up and restore it for them;
+and that they should go ahead confidently. The reader may say that he
+has no teacher to help him out of his difficulty; but he must remember
+that he has the photographic enlargement as a sure guide, and that
+whenever he fears he is losing the outline, he can see at once what he
+is doing, by holding the enlargement against the light with its back
+towards him. My experience as a teacher has shown me that pupils, as a
+rule, are timid, especially that class which works mostly on
+enlargements, resulting from the fear of losing the outline and from
+lack of a thorough knowledge of drawing. I especially urge the
+necessity for boldness and freedom in execution. As an expert in
+chirography can read character in handwriting, so the artist's public
+will judge him from his work. If he is, in fact, weak and timid, these
+traits will find expression in what he puts on paper. Let courage,
+then, be an important part of your equipment, if you would succeed in
+doing good crayon work.
+
+
+
+
+PHOTOGRAPHIC ENLARGEMENTS.
+
+
+There are three kinds of photographic enlargements used as a basis for
+crayon portraits, and, with a little experience, the student can
+determine for himself which kind will prove the most satisfactory.
+
+Free-hand crayons are made on Steinbach and other crayon papers,
+without any photograph as a basis. Silver enlargements are made on
+paper coated with a solution of chloride of silver, which the action of
+the light reduces to salts of silver. This is the oldest form of
+photography, and has been used since its introduction by Scheele in
+1778. Silver enlargements are made by the aid of the sun (and are then
+called solar enlargements) or they can be made with the electric light.
+
+Platinum enlargements are a recent advance in photographic printing
+with iron salts, the process which has been worked out and patented by
+W. Willis, Jr., being a development of such printing. Its principle is
+that a solution of ferrous oxalate in neutral potassium oxalate is
+effective as a developer. A paper is coated with a solution of ferric
+oxalate and platinum salts and then exposed behind a negative. It is
+then floated in a hot solution of neutral potassium oxalate, when the
+image is formed.
+
+This process was first introduced by Mr. Willis in 1874, and he has
+since made improvements. He claims that the platinotype paper does not
+contain any animal sizing. The early experiments convinced him that the
+paper upon which the image was to be printed would prove an important
+factor, as all photographic paper contained animal sizing, which was
+found to be antagonistic to platinum salts. The action of platinum
+salts upon a paper containing animal sizing gave it a tint which no
+amount of acid washing could remove. For the past nine years Mr. Willis
+has had manufactured for his special use a Steinbach paper, free from
+the animal sizing, and he also uses a cold developer, thereby causing
+the paper to retain its original elasticity.
+
+The chief points of difference between bromide enlargements and silver
+or platinum enlargements are that, in the former, we have the sensitive
+compound of silver suspended in a vehicle of gelatin, and, in the
+latter, a thin coating of an aqueous solution of the sensitive salts.
+In the former process, the image is not shown until the paper has been
+developed in the bath, while in the latter, the image is shown upon the
+paper when it is exposed to the light; so that, in the latter, the
+image or picture has only to be fixed or made permanent, while in the
+former, it is developed, then fixed. The gelatin bromide paper is
+coated with a solution of gelatin, bromide of potassium and nitrate of
+silver, developed with a solution of oxalate of potash, protosulphate
+of iron, sulphuric acid and bromide of potassium and water, and fixed
+with hyposulphate of soda. It is manufactured in America by E. and H.
+T. Anthony & Co. and by the Eastman Dry Plate Company.
+
+
+
+
+CRAYON MATERIALS.
+
+
+The following materials will be found necessary for crayon work:
+
+    A good photographic enlargement,
+    Easel,
+    Mahl stick,
+    Three inch magnifying glass,
+    Square black Conte crayon, Nos. 1, 2 and 3,
+    Charcoal holder for the same,
+    Hardmuth's black chalk points, Nos. 1, 2, 3, 4 and 5,
+    Holder for the same,
+    Box Faber's crayon points, Nos. 1, 2 and 3,
+    Holder for the above crayons,
+    Conte crayon, in wood, Nos. 0 and 1,
+    6 B. Faber's holder for Siberian lead pencil points,
+    4 H. Faber's holder with Siberian lead pencil point,
+    Velour crayon,
+    Peerless crayon sauce,
+    Black Conte crayon sauce, in foil,
+    White crayon, in wood,
+    Bunch of tortillon stumps,
+    Large grey paper stumps,
+    Small grey paper stumps,
+    The Peerless stump,
+    Large rubber eraser, 4 inches by 3-4 inches square, bevelled end,
+    Two small nigrivorine erasers,
+    Holder for nigrivorine erasers,
+    Piece of chamois skin,
+    Cotton batting of the best quality,
+    A sheet of fine emery paper,
+    A sharp pen knife,
+    One pound of pulverized pumice stone,
+    Mortar and pestle,
+    A large black apron,
+    Paste-board box about ten inches square and two inches deep,
+    Back-boards for mounting crayon paper and photographic enlargements,
+    Pliers,
+    Paste brush, three inches wide, to be used for starch paste or for
+      water.
+
+Experience has taught me that we cannot be too particular in giving
+directions as to the materials for our work, and therefore I have
+carefully included in the above list everything necessary to thoroughly
+equip the student. While the magnifying glass mentioned above is not an
+actual necessity, still a good one will be found very useful, as it
+will often show details in the photograph which would not be discovered
+by the naked eye. My male readers may at first object to so feminine an
+article as an apron, but it will be found thoroughly useful, and I am
+sure they will never consent to abandon it after they have once become
+accustomed to wearing it.
+
+
+
+
+THE SPECIFIC USE OF CRAYON MATERIALS.
+
+
+I will now explain the specific use and nature of these materials,
+reserving the various kinds of photographic enlargements and their
+special qualities and advantages, for treatment under their different
+manipulations.
+
+The easel should be set so that the light strikes the picture at an
+angle of 90 deg., and, when working from a side light, it will very
+often be necessary to darken the lower part of the window to accomplish
+this result.
+
+The mahl stick is held in the left hand, and is used as a rest for the
+right arm in working. Though a trifle awkward and difficult at first,
+its use must, nevertheless, be learned, as the hand will not be steady
+without it, especially in portrait work.
+
+The square black Conte crayons are for filling in where there are large
+dark places. The No. 1 is used with the black Conte crayon sauce in
+making the crayon sauce (to be applied with the ends of the fingers) to
+produce a broad effect and to make the stipple effect on the paper
+after it has been rubbed with pumice stone.
+
+The crayon points, Nos. 1, 2 and 3, are used in making outlines and
+also in putting in the lines to produce the line effect. In general,
+they are to be used in free-hand crayons and on silver and platinum
+enlargements.
+
+The Hardmuth black chalk points are similar to the crayon points, and,
+if preferred, should be used according to the directions given for the
+crayon points.
+
+The Hardmuth points are made in five numbers and will, therefore,
+produce more shades of black than the crayon points. They are also
+twice as long as the latter, without costing any more.
+
+The Conte crayons, in wood, are used for finishing the crayon,
+especially the No. 0, its hardness adapting it to that purpose.
+
+The 6 B. Faber's holder, for lead pencil points, is for holding the
+Faber's Conte crayon No. 0 after it has become short, the wood being
+carefully removed before the crayon is placed in the holder.
+
+The 4 H. holder, with Siberian lead pencil point, is used in the very
+finest work on bromide paper, for finishing in the light places. Care
+must be employed not to use too much lead on the paper, as, being of a
+different color from the crayon, it would show if too freely applied.
+It is also used in making monochromes.
+
+Velour crayon is very black. It is only used to produce a velvet effect
+and whenever it is necessary to make a very strong dark--that is, a
+dark that is deeper than an ordinary shadow.
+
+The Peerless crayon sauce is the same as the crayon sauce made from No.
+1 Conte crayon and the black Conte crayon sauce in foil. It is made and
+put up in bottles by F. W. Devoe & Co., and can be bought of any dealer
+in artist's materials. It will be found more convenient to get it in
+this form than to prepare it in the studio; it costs no more and saves
+the expense of a mortar and pestle. As it is ground by machinery and
+passed through a very fine screen, there are no small hard particles in
+the preparation, and its use is recommended.
+
+Black Conte crayon sauce, in foil, is used in making the crayon sauce
+to be applied with the fingers.
+
+White crayon, in wood, is for touching up the high lights of white
+drapery, and especially for the high lights on white lace; it is to be
+used very sparingly.
+
+Tortillon stumps are used in making the face, when it is desired to
+produce the stump effect, and also in making the hair.
+
+The large grey paper stump serves to make the broad effect of shade in
+the stump effect in the hair and dress.
+
+The Peerless stump is used to produce the same effect as the large grey
+paper stump. It will be found far better than the paper stump for work
+on the bromide paper, as it is made of softer material and causes the
+crayon to adhere to the paper more readily.
+
+The large rubber eraser is to put in the broad effects of light in the
+background and dress. The small nigrivorine erasers are used when it is
+necessary to remove the crayon, in order to produce small decided
+lights--principally in making free-hand crayons and to produce the line
+effects over a platinum and silver enlargement. While the stumps are
+used for putting on the crayon, the erasers are used to remove it. The
+chamois is also used for removing the crayon, to produce broad effects
+of light.
+
+The cotton is for applying the crayon sauce to the paper and for
+rubbing the crayon at different stages in the completion of the
+picture. The crayon cannot be removed with the eraser unless it has
+first been rubbed with the cotton; and this must be borne in mind, as
+the use of the eraser at this stage would only result in making a black
+line or spot, when it was intended to produce a white line or spot.
+
+It will also be well to make a chamois block for applying the crayon
+sauce, to be worked with the tortillon stump. This is done by tacking
+onto a block, four inches long, two inches wide and three-quarters of
+an inch thick, a piece of chamois skin, three inches wide by five
+inches long, allowing it to cover the top, while it is fastened along
+the four edges. This is placed face down in the box of crayon sauce and
+rubbed around in it, so that the crayon will adhere thoroughly to the
+chamois.
+
+Emery paper is used to sharpen the nigrivorine erasers and the crayon
+points.
+
+The knife, which is a very important tool, should be a good one, always
+kept well sharpened. The best for this work is an ink eraser, with a
+rounding point, a long edge on one side of the blade and a short one on
+the other side, extending about an inch from the point.
+
+The mortar and pestle are for pounding or grinding the Conte crayon No.
+1 and the crayon sauce, in making the special crayon sauce mentioned
+above.
+
+The paste-board box is intended to hold this special crayon sauce or
+the Peerless sauce.
+
+The back-boards are one inch thick, made to fit the back of the
+strainer (described in the next chapter), and are used in mounting. It
+will be necessary to have three different sizes, the most useful being
+11×15, 15×19 and 19×24 inches, to fit, respectively, strainers
+measuring 16×20, 20×24, 24×29 and 25×30 inches.
+
+The pliers should be either what is known as shoe-maker's pliers (which
+are the cheapest) or the canvas pliers, used in stretching that
+material; they are needed to stretch the cloth on the strainer.
+
+The pulverized pumice stone is used in preparing the surface of crayon
+paper and bromide enlargements, to produce the stipple effect.
+
+
+
+
+THE STRAINER.
+
+
+The strainer, on which crayon paper or any kind of photographic
+enlargement is to be mounted, should be the same size as the intended
+picture. The frame is made of four strips of pine wood, two inches
+wide, one inch thick on the outside, and three quarter inch on the
+inside, making a quarter inch bevel on the inside edge of the face;
+these are nailed together and glued. To this, tack a piece of bleached
+muslin, free from knots and rough places, which has been cut two inches
+larger each way than the frame. Use six ounce Swede upholsterers'
+tacks, placing one in the centre of the outside edge of one side and
+another directly opposite, stretching the muslin as firmly as possible
+with the fingers. Then place a third tack in the centre of the outside
+edge of the top, and a fourth in the centre of the bottom of the frame,
+stretching as before. In finishing, use the pliers in addition to the
+fingers, and remember that you must always stretch from the centre
+towards the corner or you will have wrinkles in the muslin. As this
+process should be thoroughly understood, I will give minute directions
+for completing the operation. Having already placed the four tacks as
+above, stand the strainer on its bottom edge on the floor, with the
+back towards you, and put in the fifth tack two inches to the right of
+the third, that is, the one on the top previously mentioned. Instead of
+stretching the muslin directly back in a straight line towards you and
+at right angles to the fourth tack, you must draw it with the fingers
+towards the right hand corner. Then finish stretching, and tacking this
+edge to the right hand corner of the top, placing the tacks two inches
+apart and taking care to only draw the cloth sufficiently to have it
+perfectly smooth and straight on the edges, leaving the stretching to
+be done with the pliers; then turn the strainer on the side edge and
+tack at two inch intervals from the centre of the other (that is the
+upper) side to the right hand corner, same as before, and then tack
+half of the bottom edge and half of the other side in the same way. You
+will observe that you now have only one half of the muslin tacked--that
+is, one half on each edge--and you then complete the tacking, using the
+pliers to thoroughly stretch the muslin. This method has the advantage
+that you can stretch the muslin on the strainer and get it on better
+and in less than half the time required by the old method; also that
+you stretch the whole surface of the muslin with the pliers, and do it
+with only half the work.
+
+
+
+
+MOUNTING CRAYON PAPER AND PLATINUM AND SILVER ENLARGEMENTS.
+
+
+Wet in clean water a piece of muslin about two inches larger each way
+than the paper you intend to mount, and lay it on the mounting board or
+table, removing all the wrinkles with a wet brush; then place the paper
+on this cloth, face down, and with some water and a brush, wet the back
+of the paper, continuing to use the brush until all the wrinkles are
+entirely smoothed out and the paper lies down perfectly flat. Any
+number of pieces of paper can be wet at the same time by placing one
+over the other, provided the larger sizes are laid down first and each
+is brushed out flat before another is placed over it. Let the paper
+soak for about fifteen minutes.
+
+After having removed the surplus water from the paper with a cloth,
+sponge or squeegee, apply starch paste to the paper with a paste brush,
+going over it thoroughly, until it has received an even coat of paste
+free from lumps. Then lay one of the back-boards on a table and, having
+placed the strainer down on it face up, give the cloth of the latter a
+coat of paste, using the same care you did in going over the paper,
+taking pains to have the edges of the cloth well pasted, and to
+remove, by passing your finger all around the outside edges of the
+strainer, any paste which may be there. Now pick the paper up and place
+it on the pasted surface of the strainer, which an assistant should
+hold tipped towards you. (The help of an assistant will be found almost
+indispensable in mounting). After the paper is in the proper place, lay
+the strainer down and secure each corner of the paper, by first lifting
+it slightly and then rubbing it down with a clean cloth from the
+direction of the centre towards the corner you have lifted up. With a
+sharp knife trim off the edges of the paper and set it away to dry, but
+neither near a fire nor in too cold a place. You can very often save
+the remounting of a paper by occasionally glancing at it as it dries
+and by gently rubbing down a little with the fingers any places that
+look as if they would not stick. Very often the paper will be all right
+with the exception of this difficulty at one edge or corner. This is
+invariably the lower part, and is caused by the water settling there.
+It is therefore advisable to change the position of the strainer two or
+three times as it dries, letting it stand on different edges.
+
+After the paper is dry, if there are any places that have refused to
+stick fast to the cloth, it will be impossible for you to remedy the
+matter, and you must remount it. You proceed, therefore, to remove the
+paper from the cloth. This you do by turning the strainer face down and
+filling the back of it with warm water, allowing it to remain there
+until you think that the paste has become thoroughly dissolved; then
+turn the strainer over and carefully remove the paper. If it should not
+come off readily, fill the strainer again with water, and soak it until
+it will come off. After you have removed the paper, lay it on a wet
+cloth, and with a case knife clean off the starch, using care not to
+injure the surface of the paper, and also clean off the starch from the
+strainer; then proceed to remount as before. When you once understand
+that you cannot spoil an enlargement on account of defective mounting,
+you will work more confidently. After you have tried three times to
+remount, and the paper still insists in not sticking, you must take a
+new strainer, as too many wettings will have spoilt the cloth and wood.
+Sometimes there seems to be a difference in the stretching qualities of
+the enlargement and cloth, which makes it impossible to produce a
+perfect cohesion. When, therefore, it has been remounted three times
+and does not come out perfect, your best course is to mount a piece of
+crayon paper on a new strainer, and after it is thoroughly dry to then
+mount the enlargement on that. This you do in the manner described for
+mounting in the first instance, directly on the strainer, except that
+you do not coat with paste the crayon paper already mounted.
+
+It sometimes happens, that after the paper has been mounted and dried,
+it is discovered that lumps in the paste have caused defects to appear
+on the face of the paper in the shape of raised surfaces that unfit it
+for the intended purpose. These can be entirely removed by wetting the
+back of the strainer with some clean water immediately behind where the
+lumps of paste are, and with a knife scraping the cloth a little at
+these places; the surplus paste will work itself out through the cloth.
+
+The starch paste used in mounting should not be made very thick; on the
+contrary, it should be as thin as is consistent with still retaining
+all its adhesive qualities. Should you fear that it is too thick or
+lumpy, strain it through a piece of cheese cloth. In a former edition
+of this book I advised adding to the paste a little white glue
+dissolved in warm water, but I do not now consider this necessary for
+crayon paper or photographic enlargements, and do not recommend its use
+except for mounting paper of unusual thickness.
+
+The foregoing directions for mounting apply to platinum or silver
+enlargements, crayon or other kinds of paper, but not to bromide
+enlargements. The bromide paper requires a different method of handling
+on account of the gelatin surface, which when wet is destroyed by
+contact with any dry substance, as the latter removes the gelatin.
+
+For determining the proper position of photographic enlargements (bust
+pictures) on the strainer, the following scale will be useful as a
+general guide. When the size of the strainer is 16×20, 20×24, 22×26, or
+25×30 inches, the distances from its top to the top of the head of the
+portrait should be respectively 3-1/2, 4, 4-1/2 and 5-1/2 inches.
+
+
+
+
+MOUNTING BROMIDE ENLARGEMENTS.
+
+
+The first requisite for this is a water-tight tray, large enough to
+hold the enlargements. A hard rubber tray can be purchased, or a wooden
+one that will answer the purpose may be made. I use one of my own
+construction that is cheap and serviceable. It is simply a wooden box,
+27×32 inches and 4 inches deep, made of 1/2 inch grooved material and
+lined with black oil cloth, not cut at the corners, but folded in. In
+this, when about half full of water, lay the enlargement face up, and
+let it remain in the water fifteen minutes. It should then be laid face
+down on the wet cloth (which should be all ready) as described in the
+preceding chapter, for mounting crayon paper. Care must be exercised to
+have the cloth wet all over, for if there should be any dry spots in it
+they would ruin the gelatin surface. With a cloth or squeegee remove
+the water from the back of the enlargement and also from the cloth
+around its edges, for if there is too much water on the edge of the
+cloth it will work up into the paste and prevent it from sticking when
+mounted. Now paste the enlargement and strainer according to the
+directions given for mounting crayon paper, place the enlargement on
+the strainer and rub it down by using the fingers wet in a little
+water, or the squeegee can be used; and then trim off even with the
+outside of the strainer. Avoid rubbing too hard along the edges, as by
+so doing you will press out all the paste and it will not stick.
+
+You can remount a bromide enlargement as often as necessary in case it
+does not come out perfect, only bear in mind that you must not allow
+anything dry to touch the surface when wet. But I should not advise you
+to try more than three times directly on the strainer. It would be
+better to mount a piece of crayon paper on a new strainer, and after it
+is dry to remount the bromide enlargement on that.
+
+
+
+
+OUTLINES--NEGATIVE OUTLINE.
+
+
+After the crayon paper has been mounted on the strainer and dried, the
+next step is to obtain the outline. I will first treat of free-hand
+crayons, taking it for granted that the reader is not able to produce
+crayons from life, but works from a photograph. There are five
+different methods of making an outline, from which the reader can make
+his own selection.
+
+[Illustration: NEGATIVE OUTLINE--DARK CHAMBER.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Make a negative from the photograph that is to be enlarged, and
+construct for a room that is entirely dark, with the exception of one
+window, a dark inside shutter, with an opening in it the size of the
+negative you intend to use. Place a cleat on each side and at the
+bottom of this opening, so that the negative may be made to slide in
+front of it. Having removed the ground glass from your camera box,
+fasten the latter against the shutter so that the opening comes in the
+centre of the box. You can fasten it with four hooks and eyes, or
+arrange cleats on the shutter and pieces on the box, so that it will
+slide into place. Be sure and have the box come tight against the
+shutter so that the light will be entirely excluded. Place the negative
+over the small opening in the shutter and adjust the camera box; then
+stand the easel with the crayon strainer on it at the proper distance
+to give the required size of the enlargement and focus the image sharp
+on the crayon paper. The strainer must stand at the same angle as the
+shutter; that is, if the shutter is perpendicular then the strainer
+must stand perpendicular also. Then go over the outline and shadow
+lines with the charcoal, after which open the shutter and examine the
+outline and see if it is right. As you are working in the dark you are
+apt to overlook some lines. If you have done so you can close the
+shutter again and make them. If it proves to be all right go over it
+with the crayon point No. 2.
+
+
+
+
+MAGIC LANTERN OUTLINE.
+
+
+[Illustration: McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+[Illustration: MAGIC LANTERN OUTLINE.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+This is the method I am using at present in my own free-hand crayon
+work, and prefer because it does not require a negative. I use a
+McAllister Magic Lantern, No. 653, with a wonder camera attachment.
+This attachment enables you to make an enlargement from a cabinet or
+card photograph, and to dispense with a negative. If you intend to do
+very much free-hand crayon work I should advise you to get one, as it
+will soon pay for itself. The lantern should be put in working
+condition according to the printed directions that come with it, and
+placed on your table. I use a table six feet long, sixteen inches wide,
+and thirty inches high. Nail to one side of the table, four inches from
+the end, a stick six feet long, one inch wide, and one-half inch thick,
+using two two-inch brads. One end of the stick should rest on the
+floor, care being taken that it stand perfectly perpendicular, a square
+being used if necessary to secure this result. The stick will have a
+length of 42 inches above the table, which will be ample for the use of
+a 25 by 30 strainer. Place the strainer, with the crayon paper mounted
+on it, facing outward on its bottom edge on the table and nail it fast
+to the stick with two brads, letting it stand at right angles with the
+edge of the table with its back towards the lantern, which is at the
+other end of the table. The object of placing the strainer with the
+back towards the lantern is that the image must show through the
+strainer or the outline would be drawn reversed. Draw a charcoal mark
+on the back of the strainer vertically through the centre, and mark the
+proper distance from the top of strainer horizontally where the top of
+the head should come. Now move the lantern until you have it the proper
+distance from the strainer to make the head the size desired, and
+afterwards focus the features sharp and distinct, using the charcoal
+marks for the proper place to make the head, the vertical line coming
+through the centre of the face; then, seated at the end of the table,
+in front of the strainer, make a charcoal outline as in the former
+method.
+
+Of course the magic lantern can be used for producing an outline only
+at night, or in a perfectly darkened room.
+
+The following table will prove a safe guide to follow in determining
+the size of the head for bust pictures. The distance from the roots of
+the hair on the forehead to the bottom of the chin should be:
+
+    For 14 by 17 inch pictures, 4     inches,
+     "  16  " 20   "     "      4-1/2   "
+     "  18  " 22   "     "      5       "
+     "  20  " 24   "     "      6       "
+     "  22  " 27   "     "      6-1/2   "
+     "  25  " 30   "     "      7       "
+     "  29  " 36   "     "      7       " showing the hands.
+
+
+
+
+TRANSFER OUTLINE.
+
+
+For this method an enlargement made from the photograph is required,
+but it needs to be an enlargement of the head only--that is, a 11×14
+inch enlargement of the head will answer for a 25×30 inch crayon
+portrait, and serve as a guide to work from in making the crayon.
+
+Transparent tracing paper (made of fine tissue paper, oiled with
+clarified linseed oil and then dried,) is laid on the enlarged
+photograph, and the outline gone over with a soft lead pencil. The
+tracing paper is then turned and its back is rubbed all over with
+charcoal, when it is laid charcoal side down on the mounted crayon
+paper, and carefully fastened with four thumb tacks. The lines first
+made are then gone over with a sharp pointed lead pencil. When the
+tracing paper is removed a perfect outline in charcoal is found to have
+been made. This should then be gone over with the crayon point No. 2.
+The rest of the portrait is sketched in from the original picture.
+
+
+
+
+THE METROSCOPE
+
+
+Comprises a series of squares accurately engraved upon the finest plate
+glass by machinery. The two plates of glass (of which one form of the
+instrument consists), are ruled for convenience with squares differing
+in size. These are framed and held together by thumb screws, allowing
+sufficient space between them for inserting and securing a picture the
+size of a cabinet photograph. The lines are thus brought into such
+perfect contact with all parts of the photograph so that they appear to
+be drawn on it. One feature of this instrument which renders the square
+system very practical, consists of the division and sub-division of the
+squares by dotted lines and dash lines. The eye naturally divides a
+line or space into halves and quarters, and for this reason the dash
+lines have been designated for quartering the main lines, and the
+dotted lines for quartering the squares thus formed. This gives sixteen
+times as many squares for use as are drawn upon the photograph.
+
+A method based on the same principle as the metroscope, but not
+requiring the use of that instrument, may be pursued, as follows:
+Fasten the photograph to a board, mark the space at the top, bottom and
+sides into one-quarter inch divisions, and drive sharp pointed pins in
+each of the division marks. Taking a spool of white thread run it
+across vertically and horizontally from each pin to the one opposite,
+and you will then have the photograph divided into one-quarter inch
+squares; then, if your enlargement is to be six times the size of the
+photograph, take the mounted crayon paper and divide the sides and top
+and bottom in 1-1/2 inch squares, run thread across the same as for the
+photograph, and then proceed to draw the outline, first in charcoal,
+and afterwards with the crayon. The spaces marked on the crayon paper
+should in each case, of course, be as many times greater than those
+marked on the photograph as the intended enlargement is greater than
+the photograph.
+
+
+
+
+THE PANTOGRAPH.
+
+
+This instrument for enlarging or reducing a picture was invented about
+the year 1603. It consists of four metallic or wooden bars or rules,
+which are perforated by a series of holes (numbered from 1 to 20), and
+connected together by means of an adjustable thumb screw. The
+instrument is provided with a tracing and a marking point, and a screw
+or point which is forced into the drawing board to hold the instrument
+in position. A good pantograph will cost about two dollars; those of a
+cheaper grade are entirely worthless for practical use, while a good
+one will last a life time. A little experience will enable any one to
+learn the use of the numbers.
+
+To employ the instrument select the number on the bars corresponding to
+the number of times the subject is to be enlarged, and connect the
+adjustable ends of the bars so that they intersect at this number;
+secure the pantograph to the drawing board at the left hand side; place
+a piece of manilla paper at the other end of the board and secure it
+with thumb tacks, taking care to smooth all the wrinkles out. Next
+adjust the marking point in the centre of the paper; and secure the
+photograph to the board so that its centre shall be directly under the
+tracing point, which should always touch it. If it does not do so at
+first, place a little weight on the instrument over this point heavy
+enough to bring it in contact with the photograph. Now guide the
+instrument, by taking hold of the tracing point while at the same time
+you watch the marking point. In this manner go over the entire
+photograph, putting in all the details necessary, after which you can
+transfer this outline to the crayon paper by means of the tracing paper
+according to the former method given for transferring an outline.
+
+These are all the best methods of producing an outline. In each of them
+you fasten the charcoal lines with the No. 2 crayon points, and then,
+having brushed off the charcoal, proceed to put in the background for
+your portrait. This you do by any one of the methods given in the
+following pages.
+
+
+
+
+FOUR METHODS OF MAKING THE BACKGROUND.
+
+
+The background can be made first, with the crayon sauce and the use of
+the large gray stump and rubber eraser; second, with the cotton and
+rubber, by using the cotton in applying the crayon sauce to put in the
+dark places in the background, and then finishing with the rubber;
+third, by the use of the line effect; and fourth, by the stipple
+effect, produced by the use of pumice stone. This last I consider far
+superior to any of the others, as it changes the appearance of the
+surface of the paper entirely, and produces an effect altogether
+different from that ordinarily shown in a background. It is also free
+from the mussy, dirty appearance which is produced by the use of the
+cotton and crayon sauce alone. I have been repeatedly asked by both
+amateurs and professionals what kind of paper I use in free-hand
+crayons. The inquiry arose from the fact that treating the paper by the
+fourth method changes the appearance of the surface of the paper and
+also its color. I have never before, however, given to the public, nor
+even to my pupils, the secret of this process. When the pupil has
+mastered it so as to once produce the satisfactory effect of which it
+is capable, he will find that it has all the advantages I claim for it
+and is a secret well worth knowing, in fact, what would be termed one
+of the tricks of the profession, and a very valuable one. I must
+confess, however, that I discovered it by an accident. I had been
+experimenting for years in making backgrounds in order to produce an
+effect that was entirely satisfactory to me, and had failed to reach
+just what I wanted. One day, however, I was at work on a portrait that
+I was very particular with, but the background of which proved quite
+unsatisfactory to me. In despair I threw on a handful of pumice stone,
+intending to entirely remove the background by its aid, when, to my
+surprise and delight, I found I was producing the very effect that I
+had been seeking for years, namely, one rendering the background of a
+different color from the face and giving it a clear, transparent
+appearance, so that the eye seemed to penetrate it, quite different
+from the opaque, almost dirty backgrounds, resulting from the use of
+other methods.
+
+I will treat each of these methods in separate chapters further on.
+
+
+
+
+FREE-HAND CRAYONS AND THOSE MADE FROM PHOTOGRAPHIC ENLARGEMENTS.
+
+
+The principal difference between the appearance of free-hand crayons
+and those that are made over a photographic enlargement, is that in the
+former the shadows are lighter and more transparent. In the matter of
+feeling, however, the free-hand crayon is much more satisfactory to the
+artist for he knows it is all his own work, and that he has not
+depended on the photographic enlargement to help him make the portrait.
+
+After the outline has been drawn, in making a free-hand crayon, the
+portrait is still not yet in the same state of advancement as a silver,
+platinum or bromide enlargement; for the reason that the latter not
+only has the outline, but also the faint impression in light and shade
+of the rest of the portrait. I will, therefore, in the next chapter,
+give instructions for filling in the free-hand crayon up to such a
+degree of light and shade as shall put it in the same condition as the
+enlargement. From that point on the same directions (to be subsequently
+given) for finishing the portrait will apply equally to both the
+free-hand crayons and the enlargements, except that the bromide is
+understood to require special treatment.
+
+The frontispiece was made from a free-hand crayon which was executed on
+Steinbach crayon paper with a magic lantern outline. This shows the
+stipple effect in the face and drapery, and a broken line effect in the
+background. The student will notice the difference between this
+illustration and that facing page 81, which was made from a bromide
+crayon. In the bromide crayon the shadows are dark and strong, while in
+this they are lighter and more transparent.
+
+
+
+
+FILLING IN THE FREE-HAND CRAYON.
+
+
+Having your crayon outline already made on the mounted strainer, lay
+the latter down on the table face up, and proceed to put in a pumice
+stone background with the crayon sauce according to instructions
+hereafter given on page 70 for producing that kind of background,
+making sure that you go entirely over the outline. Then place the
+strainer on the easel, and after putting in the cloud effect take the
+chamois block in your left hand, and, with a tortillon stump in your
+right, put in the shadows in a strong, clear and decided manner.
+Commencing on the hair, put in the broader shadows first, working the
+stump in the same direction that the lines of the hair go, and endeavor
+to give the soft flow that the hair should have, avoiding making lines
+or any attempt to make individual hairs. The eyebrows should then be
+put in in the same way as the hair, care being taken to preserve the
+form; then the eyes, beginning with the upper lids, putting in the
+lines between the eye and the lid, and also the second line forming the
+lid. Do not line in the lower lid between the eye and the lid, but put
+in the under line of the lower lid. Next form the pupil, placing it in
+the centre of the iris, making it very dark; then the iris, noticing
+in particular that the upper lid throws a shadow on the top of the
+iris; then the shading of the nose and nostrils and shadows under the
+nose. The mouth is the next important feature, and, as there are no
+decided lines in it, you must put in none, but have the degrees of
+light and shade form the mouth. Begin with the corners, and notice
+carefully that here lies nearly the whole expression of the lower part
+of the face; next treat the central point of the lips and complete the
+mouth; then make the shadows around the mouth and chin, after which,
+put in the ears, and then model up the face, making all the shadows
+broad and decided, leaving the details for the finishing touches, but
+being careful in the modeling to retain all of the values. Next put in
+the clothes with the large stump, sweeping it gently across the lights
+in different directions, allowing the lines to cross each other
+occasionally. Carefully preserve the form in this, giving the proper
+shape to the lapels of the coat or folds in the dress, and to the arms.
+Avoid detail and do not carry the clothes as far down as you want them
+to show in the finished picture. Lace work should not have too much
+detail, but be made somewhat indistinct; only show a few of the forms
+out sharp and defined, giving the pattern.
+
+
+
+
+LINE EFFECT.
+
+
+This can be produced in crayon portraits made over a photographic
+enlargement, or in free-hand crayons after the filling in just
+described has been done. 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 represent 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, as that is the way the
+grain of the board would be. If we should take the same board and bend
+it in the form of a circle, we would in order to represent the board in
+that position, draw lines running in a circle to correspond with the
+grain and position of the board. The idea to be impressed is, that when
+we want to represent an object with crayon and that object is flat, we
+draw straight lines to represent its surface; and when the object is
+round or partly so, we draw curved lines, conforming them 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 light places of an object we will see its grain or
+texture, and that grain or texture will gradually become obscured as it
+enters the shadow until it is entirely lost in the deepest shadows.
+This grain will not show in nature as decided where the strongest
+lights are as it will in the half shadows; and, therefore, in the
+crayon representation the grain effect should show more decided in the
+half shadows. If your crayon is not true in this respect, it will
+appear coarse and fail to please as a work of art on account of its
+falsity to nature. The line effect is produced throughout the whole
+picture, in the background, face and dress.
+
+
+
+
+STIPPLE EFFECT
+
+     _On a photographic enlargement or a free-hand crayon after
+     the outline and masses of light and shade have been made
+     with the tortillon stump, as explained on page 55._
+
+[Illustration: LINES TO PRODUCE THE STIPPLE EFFECT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+When putting in a background with the pumice stone as described in the
+fourth method on page 70, treat the whole surface of the paper with
+pumice stone in order to raise the grain of the paper, but go over the
+face lightly. Then place the strainer on which the portrait is mounted
+on the easel, and put in the shadows with the tortillon stump,
+producing the lights with the eraser; finish with the No. 0 crayon. But
+instead of producing a diamond effect, as you did with the lines, you
+now want to have a stipple effect, which is that of small black and
+white spots; the paper producing the white spots, and the crayon the
+black ones. To produce this make the lines in the shadows and
+half-shadows, but not in the light places, in the manner shown in the
+illustration on the following page; instead of crossing them to form
+diamonds, using short lines and varying their direction and
+intersection with reference to the ultimate effect; then rub them with
+the end of the finger. In finishing, gradually divide up all the small
+light parts with the pencil and the dark with the eraser: if it is
+necessary at any time to rub the crayon, use the end of the finger
+instead of the cotton. Be careful not to get too much crayon on the
+paper, that is, you must not "force up" or be compelled to make the
+shadows too dark by the use of the crayon; they should be made as dark
+as necessary with the stump before finishing. Should you find in
+finishing that they are not dark enough, use the stump to make them
+darker, as the pencil is only intended to give the stipple effect, and
+should be used in a very light and delicate way. Continue the process
+of finishing according to the directions hereafter given for bromide
+enlargements. The foregoing illustration is the first or ground work
+for the stipple effect produced by the aid of the fingers. To obtain
+this effect without rubbing with the fingers, make small black dots,
+instead of the lines shown above, until the desired effect is produced.
+The latter method results in a coarser stipple effect, but it requires
+a much longer time and is more difficult than the former.
+
+
+
+
+BACKGROUNDS--GENERAL PRINCIPLES.
+
+
+Always commence the portrait by putting in the background. Among the
+four different methods which I have given, the student can make his own
+selection. For myself, I prefer the last two mentioned.
+
+There can be no definite rule given for the lights and shadows in the
+backgrounds, as every portrait will need a characteristic background
+adapted to the subject. There should always be a nice disposition of
+light and shade, the light coming against the dark side of the face and
+the dark against the light side, and generally a cast shadow. What this
+is may be learned by setting a cast (or any other object) near the
+wall, letting the light strike it at an angle of 90 degrees, and
+noticing the size and position of the shadow thrown on the wall. The
+cast shadow in your background must not be too near the head, as
+simplicity should be one of the principles of the background, and this
+can only be attained by breadth of light and shade. The background is
+of secondary importance, and should not intrude itself on the portrait
+in its effect of lines or light and shade. Backgrounds for half or full
+length figures need especial study in their effect of lines, and one
+who intends to succeed in making them properly should study linear
+composition in Burnet's essay on Composition,[A] especially the
+following passages. "Composition is the art of arranging figures or
+objects so as to adapt them to any particular subject. In composition
+four requisites are necessary--that the story be well told, that it
+possess a good general form, that it be so arranged as to be capable of
+receiving a proper effect of light and shade, and that it be
+susceptible of an agreeable disposition of color. The form of a
+composition is best suggested by the subject or design, as the fitness
+of the adaptation ought to appear to emanate from the circumstances
+themselves; hence the variety of compositions.
+
+"To secure a good general form in composition, it is necessary that it
+should be as simple as possible. Whether this is to be produced by a
+breadth of light and shade, which is often the case with Rembrandt,
+even on a most complicated outline, or by the simple arrangement of
+color, as we often find in Titian, or by the construction of the group,
+evident in many of Raphael's works, must depend upon the taste of the
+artist. It is sufficient to direct the younger students to this
+particular, their minds being generally carried away by notions of
+variety and contrasts.
+
+"In giving a few examples of composition, I have confined myself to the
+four simple and principal forms, not only from their being most
+palpable, but also from their possessing a decided character, which is
+at all times desirable. To those who imagine that such rules tend to
+fetter genius, I shall merely quote Sir Joshua Reynolds, whose works,
+if properly understood, render all other writings on the subject of
+painting superfluous: 'It must of necessity be that even works of
+genius, like every other effect, as they must have their causes, must
+likewise have their rules. It cannot be by chance that excellencies are
+produced with any constancy or any certainty, for this is not the
+nature of chance; but the rules by which men of extraordinary points,
+and such as are called men of genius, work, are either such as they
+discover by their own peculiar observations, or are of such nice
+texture as not easily to admit being expressed in words; especially as
+artists are not very frequently skillful in that mode of communicating
+ideas. Unsubstantial, however, as these rules may seem, and difficult
+as it may be to convey them in writing, they are still seen and felt in
+the mind of the artist, and he works from them with as much certainty
+as if they were embodied, as I may say, upon paper. It is true these
+refined principles cannot be always palpable, like the more gross rules
+of art, yet it does not follow but that the mind may be put in such a
+train that it shall perceive, by a kind of scientific sense, that
+propriety which words, particularly words of unpractised writers such
+as we are, can but very feebly suggest.' (Sixth Discourse)."
+
+FOOTNOTES:
+
+[Footnote A: Essays on Art, by John Burnet, New York, E. L. Wilson.]
+
+
+
+
+FIRST METHOD OF MAKING THE BACKGROUND--STUMP EFFECT.
+
+
+To produce the stump effect, rub the chamois block in the box of crayon
+sauce, and then with the large grey paper stump commence by putting in
+the darkest parts and the cast shadow. Use the broad end of the stump,
+moving it over the surface of the paper with an even and uniform
+pressure, so that you will not make any dark spots. Make broad lines
+and have them cross each other so as to form diamond shaped spaces,
+using considerable care and a very light touch in the lighter places.
+Finish with the large rubber eraser, cutting it so that it will make
+white lines about the same width as the black lines made with the
+stump. Have these light lines run into the dark ones in some places,
+and use the rubber so as to produce a dashing effect.
+
+
+
+
+SECOND METHOD OF MAKING THE BACKGROUND.
+
+
+Take a handful of cotton batting, rub it in the box of crayon sauce,
+and then on a piece of paper before applying it to the crayon paper to
+make the background, being careful to avoid rubbing harder in some
+places than others, as dark spots are likely to be caused in that way.
+Commence by rubbing in close to the face and work out towards the edge
+of the paper. Let the darkest part be closest to the face, shading out
+in the form of a circle about six or eight inches from the face,
+according to the subject, the upper line of the arc coming a little
+above the head. Then make the cast shadow and finish with the large
+rubber eraser, putting the lights, or cloud effect, as it is called, in
+the background. When doing this, place the strainer high enough on the
+easel to bring the centre of the picture on a level with your eyes,
+then standing in front of it and about six feet off, decide upon your
+plan of light and shade. After you have put in the first of the lights,
+step back to the former position, and see if it gives the proper
+effect. Continue this method of working until the background is
+entirely completed.
+
+
+
+
+THIRD METHOD OF MAKING THE BACKGROUND--LINE EFFECT.
+
+
+With the cotton and crayon sauce as in the preceding method, put in the
+dark places and cast shadow, but not as dark as you want them when
+finished; then with the crayon point No. 2 put in three sets of lines
+thus:--
+
+[Illustration: BACKGROUND. LINE EFFECT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Do not carry out the lines as far as the background will extend when
+finished. The lines should be one-quarter of an inch apart in life-size
+portraits, and a little closer in smaller sizes. As a rule the lines
+are a little further apart in the background than in the face. These
+lines need not be horizontal, crossed by oblique ones at obtuse angles,
+but they can be curved lines, if desired, provided they cross each
+other so as to leave diamond shaped spaces. After the lines are in rub
+a piece of clean cotton over them all, using pressure enough to subdue
+them to the degree of indistinctness desired; then finish with the
+large eraser and crayon point No. 2, putting in the cloud effect. Such
+lines as show too prominently you subdue with the nigrivorine eraser.
+If there are any light places, make them dark with the crayon.
+
+The background should be very indistinct on the edges, and be vignetted
+in the shape of an oblong, having some very light clouds above and on
+either side of the head. Let there be a nice contrast between the face
+and the background, having light come against dark and dark against
+light; that is, when one side of the face is dark and one side light,
+have the background light against the dark side, and dark against the
+light side; when light and shade are about equal on both sides of the
+face, have the background about the same shade on both sides, without
+too decided a cast shadow. If you have a subject that has gray hair,
+have the background darker than it would be otherwise. The background
+should never be darker at any place than the shadows in the face, and
+close to the face it must be a shade between the light and half
+shadows. Never resort to the practice of leaving the background white,
+as this will only give a hard, stiff appearance. Clean off the outside
+edges of the background with a clean piece of cotton and the pumice
+stone.
+
+
+
+
+FOURTH METHOD OF MAKING THE BACKGROUND--STIPPLE EFFECT.
+
+
+Lay a piece of manilla paper on the table about twelve inches larger on
+each edge than your strainer, placing the strainer on it face up; rub a
+handful of cotton batting first in the crayon sauce and then on the
+manilla paper to remove any foreign substance. Then apply the cotton
+with a circular motion to the crayon paper to make the background
+desired. Next sprinkle the pulverized pumice stone over the entire
+background, and go over this with the fingers in a circular movement,
+using them flat from the second joint to the ends; then lift the
+strainer up, and, resting it on the edge, jar off all the pumice stone,
+and when this is done, lay it down again and rub it off with a clean
+piece of cotton. Now rub the fingers in the crayon sauce, keeping them
+flat so that it will adhere evenly to them, and go over the background
+lightly as when rubbing in the pumice stone and you will produce a nice
+stipple effect. Finally, place the strainer on the easel, and finish
+according to the directions given for finishing crayons made on bromide
+enlargements.
+
+Of course it will need considerable experience before you can succeed
+in doing this perfectly, but patience and perseverance will ultimately
+accomplish the desired end. There are two matters of importance to be
+borne in mind in making these backgrounds--first, do not have any
+small, hard pieces of crayon on the cotton when you rub it on the
+paper, and second, use the fingers in as flat a position as possible,
+for if you do not have them flat down on the paper you are likely to
+make dark spots in the background.
+
+
+
+
+FACE--LINE EFFECT.
+
+
+[Illustration: LINE EFFECT FOR FACE.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Commence on the hair with the crayon point No. 2, and put in all the
+shadows and half-shadows, carefully preserving the lines of direction,
+but avoid working over the lights more than necessary; then with the
+crayon point No. 1 strengthen all the shadows about the eyebrows, the
+eyes, the mouth, the chin and the ears. Next put the lines in the face.
+The following illustration shows the lines before they are rubbed. It
+will be well to remember that only two sets of lines are used in the
+face, as shown in the illustration, and the same number in the dress,
+while there are three sets required in the background. The lines in the
+face should be a little closer than those in the background, while
+those in the dress are about the same as those in the background.
+
+In the effect of the lines in the face lie the chief merit and beauty
+of this method of crayon work. When properly drawn, the lines represent
+and give the grain of the flesh in a very beautiful broken effect. They
+are drawn so as to leave spaces shaped like diamonds, but in the
+finishing should be so treated as to lose their regularity, and to have
+the effect of "broken diamonds." If you will examine the back of the
+wrist joint when your hand is bent slightly backward, you will see more
+clearly what is meant by the term "broken diamonds" in the slight
+ridges which show the grain of the flesh. Begin with the forehead,
+using the crayon point No. 1, and put in one set of lines straight
+across, but curving downwards as the forehead commences to round off
+towards the hair at the sides; then one more set of lines in the
+direction that will produce the diamond spaces, continuing these two
+sets of lines throughout the face. These lines intersecting at the
+proper angles will indicate the grain of the flesh, if the line of
+direction be carefully followed. Remembering that the face is not a
+flat surface, make the lines darker in the shadows and lighter as they
+approach the lights. The high lights on the forehead, the nose, the
+highest point of the chin, and around the mouth, should, however, have
+no lines over them.
+
+Having put in these lines take a small handful of cotton, and rub the
+hair and face over both the high lights and shadows, the motion
+following the line of direction; that is, being straight across the
+forehead, curving towards the hair at the sides, and circular on the
+cheeks. Care should be exercised not to rub too hard, it being a common
+fault of the beginner to rub the paper too much, and produce a dirty
+effect. The lines should be merely rubbed until they are somewhat
+blurred and indistinct. Remember that the crayon portrait is made on
+the surface of the paper, and not rubbed into it. After it has thus
+been treated with the cotton, go over the shadows with the crayon point
+No. 1, and rub again with the cotton.
+
+The face of the crayon will now be about three shades darker in the
+lights than it should be when finished, and not quite dark enough in
+the shadows. Finish it with the No. 0 crayon and nigrivorine eraser,
+using the latter wherever a lighter effect is required; also break up
+the regularity of the diamond spaces, and whenever a line shows too
+prominently subdue it with the eraser.
+
+If you would succeed in making good crayon portraits, it will be
+necessary for you to cultivate a light touch with the crayon in
+finishing.
+
+The eraser is one of the principal instruments employed in making
+crayon portraits, and is used the same as if it were a crayon pencil,
+that is, on that principle, the difference being that you make white
+lines with it instead of black ones. Keep the eraser to a sharp point
+in the following manner: take a piece of emery paper about three inches
+square, and place it in the left hand between the index and second
+fingers, holding the fingers about half an inch apart, and bending the
+paper to fit between them; then rub the eraser in the crease thus
+formed, holding it at an acute angle. Sometimes it is necessary to
+sharpen the eraser with a knife or a pair of scissors before rubbing it
+on the emery paper. In working with the eraser on the crayon paper do
+not rub hard enough to remove all the crayon from the surface of the
+paper, except in producing the high lights and the white of drapery.
+Notice in particular in finishing the hair that where it touches the
+forehead there are no lines, as the light and shade should blend
+together so nicely as to leave no decided line between them.
+
+
+
+
+DRESS--LINE EFFECT.
+
+
+[Illustration: LINE EFFECT FOR DRESS.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+The above illustration represents the effect of the lines in the dress.
+In putting them in let every fold, sleeve and lapel have lines of its
+own, that is, lines differing in direction so as to discriminate it
+from the other parts of the clothing. These distinctive lines will lose
+themselves in the wrinkles, in shadows, and in the next fold, where the
+lines will have a different direction. The illustration is very crude,
+as it shows the lines before they are rubbed with cotton; after that
+process they have quite a different appearance. In men's clothing the
+lines may be drawn a little farther apart than in the treatment of the
+finer texture of ladies' garments. After you have put in the lines with
+the crayon point No. 2, go over them with a piece of cotton previously
+rubbed in the crayon sauce, and then complete this part of the work by
+the use of a dull eraser for the smaller lights, and the chamois for
+the broad lights.
+
+The crayon is now in good condition for finishing, which you will
+proceed to do by the use of No. 0 Conte crayon and the nigrivorine
+eraser, softening the lights with the former and the shadows with the
+latter, until you have the whole portrait subdued, and no decided lines
+of light and shade. Of course throughout these processes you must pay
+close attention to all the characteristic points in the likeness, so
+that the crayon will be a true and life-like reproduction. Do not sit
+too close to the crayon in finishing; if you do, you will be
+disappointed when you come to look at it from a slight distance, and
+will not find at all that enchantment which distance is said to lend to
+the view, as the crayon will disclose a spotty effect, and too great a
+contrast between the lights and shadows.
+
+
+
+
+BROMIDE CRAYONS.
+
+
+In the bromide enlargement, while the paper has to undergo all the
+different manipulations of development, fixing and washing, that the
+platinum and silver enlargements do, yet the gelatin is not removed,
+and, when dry, remains as a strong sizing to the surface of the
+paper--in fact, so strong, that in some of the different kinds of
+bromide paper the surface is very nearly as hard as glass, and,
+therefore, the crayon cannot be used upon it with good results until it
+has received a special treatment, as the crayon would only make a black
+scratchy mark.
+
+It has been said that the bromide paper and enlargement were entirely
+different from the platinum or silver enlargement and the crayon paper.
+While there is not as much difference between the bromide and other
+enlargements as there is between the former and the crayon paper, there
+should be this difference: the silver or platinum enlargement should
+only be printed strong enough to give the form and the larger details
+in the negative, while the bromide enlargement must be as nearly a
+perfect photograph as can be produced from the negative.
+
+[Illustration: FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE--STIPPLE EFFECT THROUGHOUT. BY J. A.
+BARHYDT.]
+
+From the fact that, on account of the difference in the surface of
+the paper, there cannot be as much crayon put on the bromide
+enlargement as on the other kinds of paper, and that, therefore, it
+cannot be strengthened to the same degree in the shadows without
+spoiling the nice transparent effect that a bromide should have there,
+it follows that the best bromide crayons are those on which the least
+crayon is used to produce the desired effect. The bromide paper, on
+account of the gelatin surface, will not take the crayon from the stump
+as readily as the other kinds of paper; but after the surface has been
+treated with the pumice stone this objection is removed, and the paper
+can be worked on with the stump readily. I can say from my own
+experience, that for producing a crayon over a photographic enlargement
+with the stipple effect, it has no equal in the beauty of finish and
+rapidity of execution.
+
+The illustration facing this page was made from a crayon executed over
+a bromide enlargement from the original negative. Better results can
+always be reached in a bromide enlargement when it is thus made from
+the original negative. The student will notice in particular the
+stipple effect in the reproduction.
+
+
+
+
+FINISHING BROMIDE ENLARGEMENTS.
+
+
+Examine the enlargement mounted on the strainer, looking at it from the
+side, to learn if there is any starch on the surface of the paper
+before commencing work on it. If there is any, carefully wash it off
+with a sponge and some clean water, and then set the enlargement aside
+until it has thoroughly dried. Then lay it down on the table with a
+piece of manilla paper under the strainer about 12 inches longer on
+each edge than the latter; take a handful of cotton, first rubbing it
+thoroughly in the crayon sauce, then on the manilla paper, and finally
+going over the surface of the enlargement with it in a circular motion.
+Then sprinkle pumice stone over the portrait, and using the ends of the
+fingers flat, rub it over the entire surface of the paper. This
+treatment cuts through the gelatin surface and prepares it for the
+stipple effect. Now stand the strainer on its edge and jar the pumice
+stone off, after which lay it down on the table, and with a piece of
+clean cotton lightly brush off the surface; then, having rubbed the
+finger ends in the crayon sauce, go over the entire surface of the
+enlargement, holding them flat, and you will produce a fine stipple
+effect.
+
+If the shadows need to be darker, use a little more crayon on the
+fingers; also put the cast shadow in the background, applying the
+crayon with the fingers.
+
+Before proceeding further it will be well to note that the crayon is
+entirely on the gelatin surface, and that the photographic image is on
+this surface also, and not on the paper itself; therefore, under the
+image and the gelatin you have the pure white paper. I call attention
+to this in order that you may work with a better comprehension of the
+materials you are using.
+
+You now have four surfaces. First, the muslin cloth of the strainer;
+second, the starch; third, the white paper; fourth, the gelatin.
+
+Knowing that the gelatin has a hard surface, you are prepared to learn
+that the crayon will come off from the bromide much more easily than
+from the other kinds of paper. These had but three surfaces, while the
+bromide has a fourth--a very hard one--between the crayon and the
+paper, and on account of its hardness it will need different treatment
+in its manipulation. Therefore you use the fingers in applying the
+crayon sauce, and, when it is necessary to make a place light, you do
+so with the cotton, chamois or eraser. Should you find it necessary to
+make a place white where it is dark, you can remove the photograph
+entirely, as this is on the gelatin, scraping it off down to the white
+paper with a sharp knife.
+
+Resuming the process of finishing, place the enlargement on the easel
+and put in the cloud effect with the large eraser, then lay it on the
+table again, and clean it off about four inches from the edge all
+around with pumice stone and a fresh piece of cotton where you have
+rubbed with the eraser, and blend the background into this four inch
+space. Return the enlargement to the easel again, and with the broad
+eraser clean up the lights throughout, and with the cotton and pumice
+stone blend them into the shadows; then with the peerless stump, crayon
+sauce and fingers strengthen the larger shadows, using the nigrivorine
+eraser when necessary to clean up the lights, and the tortillon stump
+for the work in the smaller shadows, if it is required to make them
+darker. Now with the No. 0 crayon finish the face by completing the
+stipple effect in the patches of light and shade. You will have a good
+guide in the background for finishing and giving the stipple effect, as
+there you will have this stipple effect quite perfect, especially in
+the light places. This finishing with the No. 0 crayon is the nicest
+part of the work, and when doing it you must keep in mind that you are
+putting in the stipple effect, and that alone; that is, the portrait at
+this stage is supposed to be very nearly right in light and shade and
+expression, and it should not be necessary to strengthen it in the
+shadows by using the No. 0 crayon. You are to cut up or divide the
+portrait into small black and white spots, but do not take out white
+spots with the No. 0 crayon that are larger than the white spots
+desired in the stipple effect; these light places must be cut into
+smaller light spots. If you should take out these white spots (and this
+is an error you must be very careful to avoid), you would produce an
+effect of large dark and white spots that would be entirely wrong, the
+real process being to divide large white and dark spots into smaller
+ones of the same color.
+
+This stipple effect should be worked all over the face with the
+exception of the highest lights, and even these will very often need to
+be worked over except at the single points of the very highest lights.
+In this work you now have an opportunity to demonstrate the theory of
+contrast. Sometimes the enlargement is too dark in the shadows, and
+although you require to have them lighter you have already removed all
+the crayon from the surface, and it still remains too dark. The crayon
+pencil is many shades darker and blacker than the shadows, yet you can
+by its use make them lighter by putting in the stipple effect, as the
+dark touches of the pencil in their contrast with the shadow color
+under them cause them to appear lighter. This is a very essential
+principle to remember in crayon portrait work: that the effect of dark
+against light is to make the light appear lighter, and the dark darker.
+After the face and hair are completed as above, then finish the
+clothes with the peerless stump, eraser and fingers. If there are any
+very dark strong shadows--for instance, under the collar or around the
+neck--put them in with the velours crayon and subdue them with the
+fingers. When at work on the clothes at the bottom of the portrait do
+not finish straight across, but in a circular way. Next taking up the
+background you will discover that there are some large patches of light
+and shade that must be changed and made the required color to
+correspond with the adjoining surface; lean back as far as possible in
+your chair, and join these places together with the pencil and eraser;
+then in the same position finish the face by removing any light or dark
+places, strengthening the eyes, nose, mouth, and any point of the
+likeness requiring a final touch. Remove with the point of your knife
+any small black spots such as sometimes show in the photograph, and
+then with a fresh piece of cotton and pumice stone clean off the edges
+of the crayon all around.
+
+Before regarding the picture as quite complete, examine it by holding
+it at right angles to the light, to see if there are not some marks of
+the crayon pencil that show too prominently. These can be subdued with
+the ends of the fingers. Sometimes in finishing with the No. 0 crayon
+the paper will seem to be gritty so that you can hardly work on it.
+The difficulty is that some of the pumice stone has adhered to the
+surface of the paper. This can be disposed of by rubbing it with the
+fingers. It should be remembered that the pumice stone must be entirely
+removed from the whole surface of the paper, as otherwise it will
+settle in the crayon, and give a dirty gray effect. When, as sometimes
+happens in commencing the portrait, dark or white spots or streaks show
+themselves, do not pay any attention to them until you have entirely
+finished the crayon, then if they are dark, make them the proper shade
+with the eraser, and if light, with the crayon.
+
+
+
+
+MONOCHROMES.[B]
+
+
+These are portraits in one color on porcelain, glass or any hard
+material that has first been coated with gelatin and then photographed
+on. First treat the whole surface with pumice stone as directed for the
+bromide paper, afterwards go over it with the crayon and cotton. Then
+put in the cloud effect in the background, and clean off the lights in
+the face, hair, and clothes with the eraser; next put in the
+half-shadows with the peerless stump; then with a solution of India ink
+darken the stronger shadows throughout the portrait--in the eyes, nose,
+mouth and eyebrows, and finally in the hair. Finish the face with the
+No. 0 crayon and the 4 H. Faber's lead pencil according to directions
+given for finishing bromide enlargements. The Faber pencil is used
+almost exclusively throughout the face. Very nice effects of strong
+light can be made on porcelain by scraping through the gelatin surface
+with the knife. This process is specially adapted to making pictures of
+smaller size, say 10×12, or 11×14 inches, as it produces a very soft
+and delicate effect.
+
+FOOTNOTES:
+
+[Footnote B: For photographic process, see the American Annual of
+Photography and Photographic Times Almanac, 1888.]
+
+
+
+
+VALUES.
+
+
+The matter of values enters into the essential quality of every work of
+art, and especially of a portrait. It is the truth of their rendering
+that will give a faithful likeness. By the term values is meant the
+relations of light and shade to each other. This subject has been so
+admirably treated by John Burnet in his essay entitled "Practical Hints
+on Light and Shade,"[C] that I give his observations on this point.
+
+"Before proceeding to investigate light and shade in their various
+intricate relations, it may be proper to notice a few of the more
+palpable and self-evident combinations; and for the better
+comprehending of which I shall divide them into five parts, viz.:
+Light, half-light, middle tint, half-dark and dark. When a picture is
+chiefly composed of light and half-light, the darks will have more
+force and point, but without the help of strong color to give it
+solidity it will be apt to look feeble, and when a picture is composed
+mainly of dark and half-dark the lights will be more brilliant; but
+they will be apt to look spotty for want of half-light to spread and
+connect them, and the piece be in danger of becoming black and heavy.
+And when a picture is composed chiefly of middle tint, the dark and
+light portions have a more equal chance of coming into notice, but the
+general effect is in danger of becoming common and insipid. Light and
+shade are capable of producing many results, but the three principal
+are relief, harmony and breadth. By the first the artist is enabled to
+give his work the distinctness and solidity of nature; the second is
+the result of a union and cement of one part with another; and the
+third, a general breadth, is the necessary attendant on extent and
+magnitude. A judicious management of these three properties is to be
+found in the best pictures of the Italian, Venetian and Flemish
+Schools, and ought to employ the most attentive examination of the
+student, for by giving too much relief he will produce a dry hard
+effect, by too much softness and blending of the parts, wooliness and
+insipidity, and in a desire to produce breadth of effect he may produce
+flatness."
+
+The student should make a careful study of the values, as upon these
+will depend the entire effect of the portrait and its fidelity as a
+likeness; and the absence of these qualities of rendering light and
+shade are one of the marked features of the work of amateurs, as they
+are apt to make their shadows too dark and their lights too light. You
+should compare the portrait with the photograph you are working from,
+and preserve the same contrasts between the lights and shadows in order
+to produce satisfactory results. The best way of examining your work is
+by the use of a mirror. To the student the mirror is his best critic.
+It is before this silent observer that he submits his work with the
+certainty of receiving an honest criticism. At every step of your
+progress look at your work in a good mirror, as here it is changed
+about, the left side being the right side, and no error will escape
+detection. Sometimes you will see that what appeared true was in
+reality false, what seemed graceful in contour was distorted; here an
+eye which you thought was looking at you quite straight now mocks you
+from the glass in manifest obliquity; the mouth, which you thought had
+a pleasant expression, now looks as disdainful as can be. And so all
+through your work you will be startled; you will doubt the mirror.
+Doubt it not; your work is false. If you will be convinced show it to
+some competent artist, and he will confirm the judgment of the
+impartial mirror. Experience will soon teach you to put such reliance
+on its never capricious council that you will follow its suggestions
+implicitly, and, when your work is altered, the result will satisfy you
+invariably, that, as the proverb says of two heads, so two images are
+better than one. When you have come to this conclusion there is not a
+beauty of eighteen who will consult her glass (though it is true for a
+somewhat lighter purpose,) more eagerly, more devoutly, more
+frequently, or finally, we hope, with more triumphant satisfaction than
+will you.
+
+FOOTNOTES:
+
+[Footnote C: Essays on Art by John Burnet, New York, Edward L. Wilson.]
+
+
+
+
+STUDIO.
+
+
+The amateur is not to consider the selection of his studio or work-room
+of minor importance; the perspective, coloring, and the effect of the
+portrait will all depend, in a great measure, upon the situation and
+dimensions of the studio. It may be said in a general way that the
+larger the apartment the better. To secure the effect which it is
+essential to produce, there should be space enough left behind the
+artist to permit him to step back from six to ten or twelve feet to
+accurately view and see the effect of the portrait. I cannot urge too
+strongly upon the amateur the usefulness of frequently viewing his work
+from a distance. I would gladly save him the disappointment and chagrin
+which I have myself experienced, when having neglected this precaution,
+I have quite finished a portrait only to find it thoroughly
+unsatisfactory when looked at from a greater distance than that at
+which I had worked.
+
+You should choose a room with a north light if possible; if that is not
+available then one with a south light, and the room should be as near
+the top of the house as possible. Let the light be arranged so as to
+strike the easel at an angle of 90 degrees, and if it is a side light
+darken the lower half of the window. Do not have the side walls white,
+they should be a neutral shade; reddish is the best. For work with
+water colors or India ink you need a stand, and be sure and set it so
+that the light will be at your left when you work. Keep the studio as
+free from dust as possible, and when you have finished working for the
+day wash your brushes and place the corks in the water color bottles,
+so as to exclude the dust from them. For crayon work also set the easel
+so that the light is at the left hand.
+
+A word in regard to selecting materials. I have already spoken in
+regard to the selection of photographs for coloring. As to
+brushes--camel's hair will cost only about a third as much as sable,
+and will answer every purpose for beginners; the fine sable should be
+procured after the pupil has advanced sufficiently. In choosing a brush
+for water colors, dip it in a cup of water and draw it over the edge of
+the cup; if it has a little spring to it, and comes to a point readily
+without any of the hair straggling, it is all right; if not, reject it.
+Winsor and Newton's Chinese White is the best white paint. For mixing
+the colors you can get a slant with eight divisions, or a nest of
+saucers. In selecting glass for mounting pictures choose that which is
+free from blisters.
+
+
+
+
+FRAMING.
+
+
+The following directions in regard to framing will, I hope, be found
+advantageous. When framing with a passepartout mat, always use
+
+    For a 16×20 portrait an 18×22 frame,
+     "    18×22    "     "  20×24   "
+     "    20×24    "     "  22×26   "
+     "    24×29    "     "  25×30   "
+
+I make a life-size portrait 25×30 on a 24×29 strainer. The reason for
+using a larger frame than strainer is this: that it invariably happens
+that the head of the portrait will not come in exactly the proper place
+in the opening of the passepartout, and by having the frame two inches
+larger each way you will be able to bring the head wherever desired in
+this opening. When placing the picture in the frame, lay the latter
+face down on a table and put in the glass, which should have been
+perfectly cleaned; lay in the passepartout and fasten it with small
+brads. Then lay the crayon down on the table face up and turn the frame
+over on it, and after you have it in the proper place, draw the picture
+and frame partially over the edge of the table, and from underneath
+mark the back of the passepartout where the edges of the picture come;
+then turn the frame and picture over so that it shall be face down. Now
+cut eight strips of old tin-type metal one-quarter of an inch wide and
+three inches long, making holes at each end of them for the tacks, and
+with these strips fasten the picture in its place by tacking one end of
+each to the strainer and the other end to the frame. Also cut a piece
+of heavy manilla paper the size of the frame, lay it on a board, dampen
+it with a sponge, apply starch paste around each side and the ends for
+a space of six inches, and lay it over the back of the picture and
+frame, pressing it down on the latter; then set it away to dry. This
+will make a neat smooth back which will exclude moth and dust from the
+portrait.
+
+
+
+
+PASSEPARTOUT MOUNTING.
+
+
+The following method will be found useful, especially if you want to
+exhibit a crayon without the expense of framing it. Lay on the mounting
+board a piece of heavy manilla paper somewhat larger than the picture,
+then put the crayon on this face up, next the passepartout, and last
+the clean glass. Mark the size of this on the paper, and then, having
+removed the glass, crayon and passepartout, cut the paper enough larger
+than the marks to allow it to come up one inch all around over the
+edges of the glass; next dampen the paper, and apply the starch paste
+to its edges about six inches all around, then lay the crayon,
+passepartout and glass back where they were on the paper, and bring the
+latter up, lapping it over the face of the glass; cut the corners out
+so as to bring them over properly; rub the edges down thoroughly on the
+glass, and with a ruler and knife trim off the paper, allowing
+one-quarter of an inch margin; then set away to dry. This will put the
+crayon in good condition to be exhibited, and will thoroughly protect
+it.
+
+
+
+
+Transparent Liquid Water Colors for Coloring Photographs.
+
+[Illustration]
+
+
+
+
+TRANSPARENT LIQUID WATER COLORS FOR COLORING PHOTOGRAPHS
+
+
+_Materials Required in Their Use._
+
+    A good photograph, an engraving or photogravure mounted on
+      card-board
+    Camel's hair brushes, Nos. 3 and 5,
+    Sheet of blotting-paper,
+    Small sponge,
+    Clean white cloth,
+    Cake of Chinese white, Winsor and Newton's water color,
+    A divided slant or nest of small dishes for holding the color when
+      mixed,
+    Box transparent liquid water colors,
+    Stick of India ink,
+    Box pulverized pumice stone,
+    Two tumblers for water.
+
+It has passed into a proverb that he is a bad workman who complains of
+his tools. It is certain that good ones simplify work and give better
+results. One of the most important things for successful art-work is to
+have at hand the proper materials and good instruments. In their
+selection do not follow a penny wise and pound foolish policy, but get
+the best you can; and these you will often find not too good.
+
+
+
+
+THEORY OF COLOR.
+
+
+The principles connected with coloring should be understood if one
+desires to produce the most pleasing and harmonious effects in
+painting. The three colors, red, yellow, and blue, with the white of
+the paper, are equal in theory to all the requirements of art in its
+true relation to color. Red, yellow and blue are called primary colors;
+that is, we cannot produce these colors from the combination of any
+others. Orange, purple and green are called secondary colors, and are
+produced by the combination of the primary colors. By the mixture of
+red and yellow we obtain orange, from red and blue, purple, from yellow
+and blue, green. The tertiary colors--broken green, gray and brown--are
+produced by the mixture of the secondary colors. From orange and purple
+we obtain brown, from orange and green, broken green, and from purple
+and green, gray. The three primary colors must always be present in a
+picture to produce harmony. Colors are divided into what are called
+warm and cold colors, the yellow and red being termed warm, and the
+blue cold. Yellow and red produce light and warmth, and it is
+impossible to produce coolness without the use of blue. In painting we
+use the three terms, light, shade and color, because they best express
+the qualities of color. Light is expressed by yellow, shade by blue,
+and color by red. While red is particularly designated as color, we
+must not forget the claims of yellow and blue, as they, together with
+red, complete the primary scale of colors. It is by placing these
+different colors in juxtaposition that we produce the proper qualities
+existing in each of the other colors. It is impossible to produce the
+effect of warmth by red and yellow unless we use the blue in connection
+with them. It is this filling up, or completing the primary scale of
+colors, that gives the term complementary, so often employed in
+speaking of colors. Thus red is said to be complementary to green, as
+green contains the other two colors of the primary scale--blue and
+yellow. Blue is complementary to orange, as orange contains red and
+yellow. Yellow is complementary to purple, as purple contains blue and
+red. The principle of using the complementary color is of the utmost
+importance in painting, or the use of color by any method, and it is on
+this principle that the harmony of color is based. When a painting is
+produced that has the colors red, yellow and blue properly balanced, a
+pleasing and harmonious effect is attained; but if these colors are not
+used in their proper relations, there is a discord, and the work is not
+satisfactory. These rules must be borne in mind by every student in
+coloring, whether he uses oil or water colors. One of the most common
+errors of amateurs is to overlook the red in landscape. Thus trees are
+too green, and the grass is insufferably green: the complementary
+color, red, has been left out.
+
+By the following experiment you may prove that when you see one color
+the eye is in a perfect condition to see its complementary color. On a
+piece of white paper, three inches wide and five inches long, draw with
+a lead pencil an oblong, half an inch from the top, one inch wide, and
+two and one-half inches long from right to left, and a similar oblong
+one-half an inch below the one already drawn. Then draw a six pointed
+star (or any other not too large figure you desire) in the centre of
+the upper oblong, and paint it with vermilion water color. Now look
+intently at the painted star for thirty seconds, and then look at the
+plain oblong below, and you will observe that the latter will gradually
+assume a very beautiful shade of green, the exact complementary color
+of the vermilion, with the figure in white upon it--unless you should
+happen to be color blind. If that is the case, the experiment will
+demonstrate that fact.
+
+
+
+
+COLORS.
+
+
+Transparent water colors are put up in boxes containing nine colors,
+and as you reduce them in the proportion of one part of color to eight
+of water, a single box will last a long time. They can be bought of
+almost any dealer in artist's materials, and are designated as
+Florentine, Egyptian, Grecian, and by other names. Care should be used
+in procuring those which are pure and fresh. The colors are yellow,
+blue, rose, violet, magenta, flesh, brown, gold and black. The labels
+on the bottles give directions for mixing.
+
+
+
+
+YELLOW.
+
+
+Yellow is one of the primary colors and one of the most useful, as it
+enters into the coloring of almost every picture. Transparent yellow is
+very brilliant, and can be used with any other color. Yellow and red
+make orange, yellow and blue make bright green, yellow and black a dull
+green. In landscapes, yellow is used in the middle distance with blue
+and rose and magenta. In the foreground it is used with blue and black
+for green, and is especially adapted for brilliant touches of foliage,
+grasses, and light places in the ground. In portraits a very little can
+be used in the reflected lights on the faces, and, when mixed with
+brown, for light shades of hair and eyebrows; for light dresses, used
+weak, it makes a very nice cream color. It can also be used very weak
+for laces, the strong lights being afterwards touched up with Chinese
+white, but not when the picture is to be mounted on glass. This color
+will ordinarily work nicely and give good results wherever its use
+seems appropriate, but care must always be exercised not to use it too
+strong.
+
+
+
+
+BLUE.
+
+
+This is another of the primary colors and a very essential one, it
+being the nearest allied to shade, and although not shade itself, no
+shadows can be produced without it. We will find it, therefore,
+mingling with all the shades of nature between the lights and shadows.
+It would be in vain for us to introduce all our warm colors, if the
+cool tints that are produced by blue are wanting; for, without that,
+the work will appear heavy, as it is the contrast between blue and the
+warm colors that produces a balance of color. Blue mixed with yellow
+makes a very brilliant green, with gold a duller green, with magenta a
+purple. In landscapes it is used in skies and the middle distances, but
+not in the foreground, unless mixed with yellow. Blue can be mixed with
+rose or magenta for sunset skies. When the horizon is represented a
+streak of blue or rose, or of blue and magenta, will give a very
+pleasing effect. In portraits if you have a light background, a thin
+wash of blue can be used over it. The same can also be used for blue
+eyes and for dresses when they are light in the picture, also in all
+the half-shadows of the dresses or draperies without regard to what
+their other color may be.
+
+
+
+
+ROSE.
+
+
+This is the nearest approach to red that we have in these colors, and
+as it fills out the scale it is an essential one. It is, in fact, a
+very delicate shade of rose. For landscape it is used only in the
+skies, and then only a little near the horizon for sunset effects. For
+portraits it is used in the drapery for making a very light shade of
+pink, and it can be used generally when you want to make a very
+delicate effect. The photographic print on which it is used should not
+be too dark.
+
+
+
+
+VIOLET.
+
+
+This is a very strong and brilliant color, and therefore needs more
+than usual care in handling. In landscapes it is only used in certain
+skies near the horizon, and but very seldom even then. It is more
+especially designed for portraits, and there particularly in drapery to
+make very decided effects of strong color; but it can only be used when
+the dress or draperies are dark in the photograph.
+
+
+
+
+MAGENTA.
+
+
+This also is a powerful color and must be used carefully. It is not
+adapted to landscapes, but in portraits is used for dresses and
+accessories. If the photograph requires a dark dress this color will
+make it a beautiful shade.
+
+
+
+
+FLESH.
+
+
+This color can be used a very little in the skies of landscapes when
+there is a sunset effect to be represented. In portraits it is used to
+color the faces and hands. After it is dry, retouch the cheeks and lips
+with the same color.
+
+
+
+
+BROWN.
+
+
+This color is used in all the shadows. In landscapes, in some
+instances, it serves for use in the middle distance and foreground; the
+light places should be retouched with yellow or gold. It is also used
+for tree trunks, fences, and the like. In portraits it serves to color
+the hair and eyes, and appears in the dark shadows of the drapery and
+furniture. If the background is dark, a nice effect is produced by
+tinting it a little with this color.
+
+
+
+
+BLACK.
+
+
+In transparent color this has more the effect of a dark gray than a
+brilliant black, such as is produced with body colors. When you want a
+very dark black, it is better to use a little India ink with it. It is
+used in the skies of landscapes when you wish a gray effect, or to
+subdue a too strong blue color or red, and in foregrounds for rocks. In
+connection with yellow it will make a sombre green for trees,
+mountains, etc. In portraits it is used for the hair and eyes, in the
+shadows around the mouth, and in drapery in connection with the other
+colors.
+
+
+
+
+GOLD.
+
+
+This is a combination of yellow and red, and in general can be used
+wherever either of these colors would answer. In landscapes a little
+can be used in the skies, the middle distances, and lights on the
+ground in the foreground. In portraits it is used to color the drapery
+and jewelry.
+
+
+
+
+INSTRUCTIONS FOR USING LIQUID WATER COLORS.
+
+
+Fill the two tumblers with water, and have all the other materials
+ready and convenient to work with. If you have selected a burnished and
+mounted photograph wet its surface with saliva; unburnished
+photographs, photogravures and engravings do not require this
+treatment, but in coloring them it will be necessary to mix a weak
+solution of gum arabic with the colors to prevent their penetrating the
+paper. If printed on too thin a paper the photogravure or engraving
+should be mounted. If it is found that the colors "crawl" or spread on
+the photograph, mix a little acetic acid with the colors you are using,
+and should this fail to remove the difficulty, rub a pinch of pumice
+stone over the photograph with the fingers.
+
+If the photograph is a portrait commence with the background, washing
+it all over with a brushful of diluted color, being careful not to get
+any on the face. If the background is light, use a weak solution of
+blue, if dark, a brown solution. The majority of backgrounds only need
+a very little tinting--just sufficient to change the color. For the
+face use flesh color, diluting it to the proper shade, washing it
+entirely over the face, and with a stronger solution of the same color
+tint the cheeks and lips, giving them a little brighter effect than the
+flesh color. Touch up the shadows in the face with the brown, and if
+there are any reflected lights use a very weak solution of the yellow
+color for them; then with some very weak black make the shadows around
+the mouth a little darker; next with a solution of blue, also very
+weak, strengthen the shadows in the forehead and around the temples;
+then color the eyes, using a small brush. If they are blue, use a weak
+solution of blue, if gray, use a little black, and if brown, then that
+color. Next color the hair; if brown, use brown mixed with a little
+black to take away the reddish color; if auburn, use brown and yellow,
+with a little gray between the lights and shadows. In working on the
+hair, move your brush in the direction of the lines of the hair; if
+wavy, then cause your brush to follow its lines. After you have thus
+gone over it, darken the shadows with a stronger solution of the same
+color. After the hair, paint the eyebrows and beard, if there is any,
+with the same color.
+
+
+
+
+DRAPERY.
+
+
+You must remember in using these liquid colors that they are
+transparent, and, therefore, whenever the print is light you cannot
+make it dark, unless you strengthen the shadows by applying opaque
+colors. For dresses, if they are light, use the delicate colors to suit
+your fancy, either the rose, blue, yellow, or gold; when they are dark,
+use the magenta or violet, being careful to spread the colors evenly.
+After you have once colored the dresses, then with a stronger solution
+of the same color darken the shadows; if you then touch up the
+half-shadows with blue the effect will be still finer. For neckties or
+ribbons use the complementary color to that of the dress. For laces use
+a weak solution of yellow, and after it is dry touch up the strong
+lights with Chinese white. If there is a curtain in the picture use the
+complementary color to the dress. For chairs use brown. If sky, trees
+and grass are to be painted, color them according to the directions
+given for landscapes under the different colors; only be sure to modify
+them, and keep them low in tone and color.
+
+In laying on flat washes of color, the brush must be held nearly
+upright and should be passed boldly over the surface; the color should
+then gradually be brought down and spread equally over the whole
+surface as rapidly as possible, in order to avoid letting any part dry
+before the whole has been covered; then whatever surplus there may be
+should be carefully sponged off. When you apply the wash of color to
+the picture the latter should not be held flat, but at a slight angle,
+so that the color will settle down towards the bottom of the picture.
+
+These colors are more suitable for figures and landscapes combined than
+they are for landscapes alone, yet very pretty effects in landscapes
+can be produced with them. If any white spots should be found in the
+photograph, as very often happens, after the picture is quite complete,
+touch them out with India ink, using a small brush.
+
+
+
+
+LANDSCAPE.
+
+
+If the sky is to be blue, wash it all over with a weak solution of
+blue; if there are white clouds, you can touch up the highest lights
+with Chinese white; if there is a sunset or rosy effect, use a weak
+solution of rose or a little magenta. But it is best not to try to make
+too much of the sky, as the gray that is generally in it will give a
+very pretty effect and leave more contrast between the figures and the
+sky. For the middle distance mix blue, rose, and a little yellow or
+gold if you want it greenish, or you can use a very little brown. The
+nearer the trees come in the foreground the stronger in color they
+should be; that is, they should tend more to the green and brown and
+less to the bluish color. If they are to be bright green use blue and
+yellow, and retouch the light places with yellow. You can make the
+green duller by mixing a little black with the yellow, or you can make
+a richer green by using blue, gold and brown, and then touching up the
+lights with gold, and the shadows with brown. For the grass use blue
+and yellow, and retouch the lights with yellow; for the ground use
+brown, and retouch the lights with gold; for tree trunks, fences, and
+the like, use brown; for rocks, use black and a little brown.
+
+
+
+
+THE PRINCIPLE.
+
+
+The study of painting as an art is based on three considerations, form,
+light and shade, and color. I will now treat of color--the form, and
+light and shade being furnished for us in the photograph. Photography
+as a means of art education in its influence on the public is salutary.
+In spite of all its falsity it is the best teacher of the first
+elements of criticism and knowledge of the facts of form and light and
+shade. Photography does not produce color, so that we will add the one
+link to the chain that is wanting. As we are dealing with pictures
+finished in light and shade, it is well that we should have rules to
+aid in choosing good ones to work on.
+
+In selecting a photograph to color we want as perfect a print as it is
+possible to procure. A light one is preferable. Notice in particular if
+it is well defined, that the shadows and middle shades are clear, the
+lights pure, and that it is free from defects and spots. Many think
+that they can take a poor photograph, and, by coloring it, cover up the
+defects, but they are wrong in this, for the transparent colors will
+not conceal defects. The best rule is that the better the photograph
+the better will be the picture when finished. The Soule Photograph
+Company, No. 338 Washington Street, Boston, Mass., furnish photographic
+reproductions, mounted and unmounted, of all the best paintings in the
+world, in both public and private art galleries, and their photographs
+are the best to color. Therefore, to begin with, have a perfect picture
+to color. Scholars in commencing to use the brush will not be able to
+produce bold effects of color, and will only acquire that power by use
+and practice. By bold effects I do not mean that one part is to be more
+prominently rendered than any other portion of the work, but merely the
+brilliancy of coloring which distinguishes professional from amateur
+work. In any kind of painting it must be borne in mind, that there are
+no decided lines forming the edges of any object. The point insisted on
+is that the boundaries of objects must be of that color that will
+harmonize and subdue the picture, producing a soft, delicate effect.
+
+I would advise all who begin to paint to commence with water colors, as
+they are the easiest to manipulate, the liquid water colors being
+easier than the body colors, and their use the simplest of all kinds of
+painting. The photograph being a fac-simile of a subject as it appears
+to the eye in form and light and shade, furnishes a picture perfect
+except in color, while the liquids supply the color in the form best
+adapted to teaching the first steps in its use. It is hoped, though,
+that after the student has thoroughly mastered this course of study, he
+will attempt something higher and more difficult in the study of art.
+
+
+
+
+French Crystals.
+
+[Illustration]
+
+
+
+
+FRENCH CRYSTALS.
+
+
+These are photographs colored with liquid water colors and mounted on
+glass. For several years a process has been taught by which a
+photograph is rendered transparent by the use of paraffine oil, etc.,
+then mounted on glass, and colored from the back with oil paints. While
+by this method a picture pleasing at the time could be produced, yet
+unless the process was perfectly executed the oils would decompose and
+the picture become yellow and spotted. The use of water colors entirely
+overcomes these objections, as it is so simple that any one can employ
+them perfectly, and as there are no oils used in their production they
+cannot change or turn yellow.
+
+
+
+
+MATERIALS.
+
+
+    Convex glasses on which to mount photographs,
+    Bottle of Florentine, Egyptian, Grecian or other compound for
+      mounting on glass,
+    Best French picture glass,
+    Some gummed paper,
+    A dish in which to soak photographs,
+    Some dark, thin, fancy paper,
+    Sheet of blotting paper.
+
+
+
+
+THE METHOD.
+
+
+Having secured a good photograph, rub a little pumice stone over it
+with the finger, and then, if it is mounted, remove it from the card by
+placing it in warm water and allowing it to soak for an hour or two, or
+over night if necessary. After it is thus freed from the card lay it
+face down on a piece of glass, and sponge off all the starch from the
+back. Cut a piece of blotting paper the size of the picture and lay it
+on a glass, wetting it with water applied with a sponge; then lay the
+photograph, still wet, on the blotting paper, and, with a sponge,
+remove all the surplus water from its surface. Now proceed to color it
+according to the directions given in the preceding pages for coloring
+photographs with transparent liquid water colors. In case you should
+put on too much color, let the photograph soak a few moments in warm
+water, when the surplus color will gradually come out, and you may then
+recolor it. After it has been finished to your satisfaction, proceed to
+mount it according to the directions next given.
+
+
+
+
+MOUNTING FRENCH CRYSTALS.
+
+
+The glass for mounting, whether flat or convex, should be the same size
+as the picture. It should be dipped in water and permitted to drain
+off, but do not dry it; pour a little of the compound on the side
+against which the photograph is to be placed--the hollow side, if the
+glass is convex--let it drain off and lay the picture face down upon
+it. With the thumb and finger commence at the centre of the photograph,
+smoothing it down close to the glass, forcing all the air bubbles out
+to the edges, thus continuing until the picture is entirely smoothed
+out, and at every point in actual contact with the glass. During this
+process hold the glass at an angle, so that you can see if there are
+any air bubbles or glistening places in it by examining its face
+occasionally; and always let a little of the compound get on the back
+of the photograph, as it allows the fingers to glide over it more
+easily and lessens the chance of tearing it. Now take a second glass
+the same size as the first, and having thoroughly cleaned it, fasten it
+to the back of the other by small strips of gummed paper. Then place a
+piece of card-board of the same size on the back of the two glasses and
+fasten the three together also with small strips of gummed paper;
+finally securing the whole firmly together by binding it with some
+large strips, and your picture is ready to frame. In case you do not
+care to frame it, cut out a piece of some dark fancy paper, a quarter
+of an inch on each edge larger than the picture, and fasten it, dark
+side out, on the back, allowing the quarter of an inch to lap over and
+be pasted on the face, after which straighten the edges with a ruler
+and sharp knife.
+
+
+
+
+FINISHING PHOTOGRAPHS IN INDIA INK.
+
+
+The principles that have been given in regard to finishing photographs
+with lines, apply also to finishing with India ink--with the exception
+that in the manipulation of the ink it must be remembered that it
+cannot be taken out; therefore, you must commence to finish the
+photograph gradually, and produce the proper strength by repeatedly
+working over it. The old method of making India ink portraits was to
+have a print on "plain" paper--a kind without albumen on its surface.
+The great disadvantage of "plain" paper is that the lights and shadows
+on it are not strong, and therefore it takes too much work to finish
+the picture.
+
+The following method (which is very simple and can be used in work on
+albumen paper, provided you have treated it by rubbing pumice stone
+over its surface with your fingers), adapts it to India ink. Of course
+the pumice stone treatment destroys the albumen on the surface, causing
+it to have a dull appearance, but after the picture has been finished
+its lustre can be restored by the use of a not too warm burnisher.
+
+In finishing the photograph commence on the hair by washing it all
+over (with the exception of the highest light) with a weak solution of
+the ink, using the brush in the same direction that the hair goes;
+after this has dried, indicate the half-shadow with a little stronger
+wash, and after drying it again put in the deeper shadows, then the
+eyebrows, eyes and beard, if the subject has one.
+
+Faces are finished in India ink on the line principle,[D] which shows
+the grain of the flesh. Commence on the forehead with a very weak
+solution, and then continue it all over the face, repeatedly working
+and cross hatching with lines until the face is dark enough; then
+strengthen the shadows under the eyes, nose, mouth and chin. After the
+face is completed put in the clothes. This you do by washing them over
+with two or three solutions of the ink, and then producing the line
+effect as in work on crayon portraits, explained on page 76, the
+difference in the nature of the material used being always borne in
+mind. After the picture is otherwise completed, you can brighten up the
+eyes and some of the strongest shadows with a solution of gum arabic
+and water.
+
+FOOTNOTES:
+
+[Footnote D: See pages 57 and 72.]
+
+
+
+
+CONCLUSION.
+
+
+While it is thought that all essential instructions on the topics
+treated of have been given in the foregoing pages, and that if
+faithfully followed they will lead the pupil to attain satisfactory
+results, it is hoped that my readers who have accompanied me thus far
+will not be content to continue to use a photograph as the basis of
+their work, but will advance to the pursuit of art in a broader and
+more scientific manner. As a step in this direction the study of form,
+and light and shade, by drawing from the cast should be taken up; and
+to this work the directions as to light and shade given in the
+foregoing pages fully apply, that requiring the object to be placed in
+such a position that the light will strike it at an angle of ninety
+degrees being always borne in mind.
+
+The student will do well to gain all he can from the published works of
+the leaders in the profession, whose writings, both theoretical and
+practical, are invaluable. Three essays by John Burnet I can very
+heartily recommend. They are "Practical Hints on Light and Shade,"
+"Practical Hints on Composition," and "The Education of the Eye." These
+are published in a single volume, which is illustrated with examples
+from the great masters of the Italian, Flemish and Dutch schools, and
+should be in the hands of every amateur. They will all repay perusal
+and study until their principles are mastered. An English edition of
+these books is published by James Carpenter, London, and in this
+country they have been reproduced by Edward L. Wilson, editor of the
+_Philadelphia Photographer_. Another book which abounds in valuable and
+practical information for the amateur and can be highly commended, is
+"Art Recreations, a Guide to Decorative Art," by Marion Kemble,
+published by S. W. Tilton & Co., Boston; also J. Bacon's "Theory of
+Coloring," issued by Geo. Rowney & Co., England.
+
+Those who are disposed to treat disdainfully the work of finishing
+photographs in crayon and color as not demanding truly artistic
+qualities, should not forget that success here has still a real value
+in awakening in many who undertake it a feeling for art of a higher
+kind, and in developing a natural talent which otherwise might have
+been undiscovered. Many an artist now looks back with pleasure and
+gratitude to this sort of work, in which he received the first impetus
+toward higher effort.
+
+In answer to the assertion which is sometimes made that transparent
+water colors are not permanent, I claim that in the sense in which the
+word is ordinarily used in connection with photography they may
+properly be called so. In this sense the lasting qualities which
+characterize the materials used by the old masters are not looked for,
+but where photographs have been thus colored, finished in the form of
+French crystals, and properly sealed from the atmosphere, they are
+practically permanent. I have some in my possession that were made
+years ago, and they are as bright and fresh to-day as when first
+colored. It can be truly said that photographs colored in this way make
+very beautiful and pleasing pictures, obtainable with but little work
+and expense, and having practical permanency of color.
+
+As a final word to those who intend to follow art as a profession, I
+urge the earnest study and mastery of drawing at the outset as the
+foundation of all art; then take up work in body water colors, and when
+the theory of coloring is fully understood, do not neglect the careful
+reading of books of acknowledged merit bearing on your work. The more
+notes you take in the course of your reading the more fully you will
+assimilate the author's thought, while, at the same time, you furnish
+the easiest means of rapid review. After all, your soundest basis for
+work will be your deep and continuing love for it, and your willingness
+to labor long and conscientiously to attain excellence. Do not imagine
+that the profession of an artist is that of an idler. On the contrary,
+of all occupations it is perhaps the most active, for one is constantly
+engaged, if not with art itself, at least with its materials.
+
+Every artist will confess that were it not for the charm with which it
+rewards the votaries who follow it from love, the pursuit would be a
+painful one, such vigilant precaution does it require, such constant
+foresight, such calculation and preparation against possible difficulty
+on every hand; but the true artist, happy in the daily gain of
+knowledge which his experience brings him, and delighted with the
+gradual mastery of his work, as a rule lives along enjoyably, retaining
+more than most men the freshness of youth while he gains in power as he
+advances in years. So pleasant a fate as this for each of his readers
+is the closing wish of the author.
+
+
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+Moved some illustrations to avoid breaking up paragraphs of text. The
+page references in the List of Illustrations refer to the original
+book.
+
+Corrected minor punctuation errors and hyphenation inconsistencies, and
+made the following changes:
+
+Page 50: Changed necesssary to necessary:
+  (all the details necesssary).
+
+Page 67: Changed Appelton to Appleton:
+  (From the Annual Encyclopedia. Copyrighted, 1891, by D. Appelton).
+
+Page 74: Changed where-ever to wherever:
+  (using the latter where-ever a lighter effect is required).
+
+Page 90: Changed picrure to picture:
+  (And when a picrure is composed chiefly of middle tint).
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
+*** END OF THE PROJECT GUTENBERG EBOOK 30248 ***
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+The Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Crayon Portraiture
+       Complete Instructions for Making Crayon Portraits on Crayon
+       Paper and on Platinum, Silver and Bromide Enlargements
+
+Author: Jerome A. Barhydt
+
+Release Date: October 13, 2009 [EBook #30248]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CRAYON PORTRAITURE ***
+
+
+
+
+Produced by Chris Curnow, Diane Monico, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+
+
+Crayon Portraiture.
+
+
+[Illustration: FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER--STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT.]
+
+
+
+
+CRAYON PORTRAITURE
+
+COMPLETE INSTRUCTIONS FOR MAKING CRAYON
+PORTRAITS ON CRAYON PAPER AND ON
+PLATINUM, SILVER AND BROMIDE
+ENLARGEMENTS
+
+ALSO DIRECTIONS FOR THE USE OF
+TRANSPARENT LIQUID WATER COLORS
+AND FOR MAKING
+FRENCH CRYSTALS
+
+
+BY
+
+J. A. BARHYDT
+
+AUTHOR OF ARTICLE ON CRAYON PORTRAITURE IN
+_Appleton's Annual Cyclopedia, 1890_.
+
+
+Illustrated
+
+_Revised and Enlarged Edition_
+
+NEW YORK
+THE BAKER & TAYLOR CO.
+33-37 E. 17TH STREET, UNION SQUARE NORTH
+
+
+COPYRIGHT, 1886 AND 1892
+
+BY J. A. BARHYDT
+
+
+ROBERT DRUMMOND, PRINTER, NEW YORK
+
+
+
+
+PREFACE.
+
+
+In issuing this second treatise on Crayon Portraiture, Liquid Water
+Colors and French Crystals, for the use of photographers and amateur
+artists, I do so with the hope and assurance that all the requirements
+in the way of instruction for making crayon portraits on photographic
+enlargements and for finishing photographs in color will be fully met.
+To these I have added complete instructions for free-hand crayons.
+
+This book embodies the results of a studio experience of twenty-four
+years spent in practical work, in teaching, and in overcoming the
+everyday difficulties encountered, not alone in my own work, but in
+that of my pupils as well. Hence the book has been prepared with
+special reference to the needs of the student. It presents a brief
+course of precepts, and requires on the part of the pupil only
+perseverance in order that he may achieve excellence. The mechanical
+principles are few, and have been laid down in a few words; and, as
+nearly all students have felt, in the earlier period of their art work,
+the necessity of some general rules to guide them in the composition
+and arrangement of color, I have given, without entering into any
+profound discussion of the subject, a few of its practical precepts,
+which, it is hoped, will prove helpful.
+
+While this book does not treat of art in a very broad way, yet I am
+convinced that those who follow its teachings will, through the work
+they accomplish, be soon led to a higher appreciation of art. Although
+this kind of work does not _create_, yet who will say that it will not
+have accomplished much if it shall prove to be the first step that
+shall lead some student to devote his or her life to the sacred calling
+of art?
+
+It has been said that artists rarely, if ever, write on art, because
+they have the impression that the public is too ill-informed to
+understand them--that is, to understand their ordinarily somewhat
+technical method of expression. If, therefore, in the following pages I
+may sometimes seem to take more space and time for an explanation than
+appears necessary, I hope the student will overlook it, as I seek to be
+thoroughly understood.
+
+My hope with reference to this work is that it may prove of actual
+value to the earnest student in helping him reach the excellence which
+is the common aim of all true artists.
+
+                        J. A. BARHYDT.
+
+
+
+
+CONTENTS.
+
+                                                                  PAGE.
+
+Preface                                                             ix
+
+Crayon Portraiture                                                  15
+
+Photographic Enlargements                                           19
+
+Crayon Materials                                                    22
+
+The Specific Use of Crayon Materials                                25
+
+The Strainer                                                        30
+
+Mounting Crayon Paper and Platinum and Silver Enlargements          32
+
+Mounting Bromide Enlargements                                       37
+
+Outlines--Negative Outline                                          39
+
+Magic Lantern Outline                                               42
+
+Transfer Outline                                                    46
+
+The Metroscope                                                      47
+
+The Pantograph                                                      49
+
+Crayon Effects--The Four Methods of making Backgrounds              51
+
+Free-hand Crayons and those made from Photographic Enlargements     53
+
+Filling in the Free-hand Crayon                                     55
+
+Line Effect                                                         57
+
+Stipple Effect                                                      59
+
+Backgrounds--General Principles                                     62
+
+First Method of making the Background--Stump Effect                 65
+
+Second Method of making the Background                              66
+
+Third Method of making the Background--Line Effect                  67
+
+Fourth Method of making the Background--Stipple Effect              70
+
+Face--Line Effect                                                   72
+
+Dress--Line Effect                                                  76
+
+Bromide Crayons                                                     78
+
+Finishing Bromide Enlargements                                      82
+
+Monochromes                                                         88
+
+Values                                                              89
+
+The Studio                                                          93
+
+Framing                                                             95
+
+Passepartout Mounting                                               97
+
+
+TRANSPARENT LIQUID WATER COLORS FOR COLORING
+PHOTOGRAPHS.--MATERIALS REQUIRED IN THEIR USE                      101
+
+Theory of Color                                                    103
+
+Colors                                                             106
+
+Yellow                                                             106
+
+Blue                                                               107
+
+Rose                                                               108
+
+Violet                                                             109
+
+Magenta                                                            109
+
+Flesh                                                              110
+
+Brown                                                              110
+
+Black                                                              111
+
+Gold                                                               111
+
+Instructions for using Liquid Water Colors                         112
+
+Drapery                                                            114
+
+Landscape                                                          116
+
+The Principle                                                      117
+
+
+FRENCH CRYSTALS                                                    123
+
+Materials                                                          124
+
+The Method                                                         125
+
+Mounting French Crystals                                           126
+
+Finishing Photographs in India Ink                                 128
+
+Conclusion                                                         130
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE.
+
+Free-hand Crayon made on Steinbach Crayon Paper with a
+Magic Lantern Outline, showing Stipple Effect in Face
+and Drapery and Broken Line Effect in Background         _Frontispiece_
+
+Negative Outline--Dark Chamber                                      40
+
+McAllister's Magic Lantern, No 653, with Wonder Camera
+  Attachment                                                        42
+
+Magic Lantern Outline                                               43
+
+Lines to produce Stipple Effect                                     60
+
+Background--Line Effect                                             67
+
+Line Effect for Face                                                72
+
+Line Effect for Dress                                               76
+
+Crayon executed over Bromide Enlargement made from Original
+Negative, showing Stipple Effect throughout                         80
+
+[Illustration]
+
+
+
+
+CRAYON PORTRAITURE.
+
+
+To many who know nothing about the art of crayon portraiture, the
+mastery of it not only seems very difficult, but almost unattainable.
+In fact, any work of art of whatever description, which in its
+execution is beyond the knowledge or comprehension of the spectator, is
+to him a thing of almost supernatural character. Of course, this is
+more decided when the subject portrayed carries our thoughts beyond the
+realms of visible things.
+
+But the making of crayon portraits is not within the reach alone of the
+trained artist who follows it as a profession. I claim that any one who
+can learn to write can learn to draw, and that any one who can learn to
+draw can learn to make crayon portraits. Making them over a
+photograph, that is, an enlargement, is a comparatively simple matter,
+as it does not require as much knowledge of drawing as do free-hand
+crayons. But you must not suppose that, because the photographic
+enlargement gives you the drawing in line and an indistinct impression
+of the form in light and shade, you are not required to draw at all in
+making a crayon portrait over such an enlargement. Some knowledge of
+drawing is necessary, though not a perfect knowledge.
+
+Many people err in supposing that only the exceptionally skilled can
+produce the human features in life-like form upon the crayon paper.
+While recognizing great differences in natural aptitude for drawing in
+different persons, just as those who use the pen differ widely in their
+skill, some being able to write with almost mechanical perfection of
+form, I still hold that any one who is able to draw at all can succeed
+in producing creditable crayon portraits; and the lack of great skill
+as a draughtsman, should neither discourage a student nor debar him
+from undertaking to make crayon portraits (over enlargements, at
+least), either as an amateur or professional. To make a crayon from
+life undoubtably requires considerable talent and some education as an
+artist; but photography, in recent times, has made such advances from
+the old fashioned daguerreotype to the dry plate process and
+instantaneous exposure, and such developments have recently been made
+in the field of enlargements and in photographic papers, that it is now
+possible for anyone, who will carefully follow the plain instructions
+given in the following pages, to make a good crayon portrait by the aid
+of the different kinds of enlargements. These place in his hands a
+perfect reproduction of what he wishes to make; and care and close
+attention to details will insure the rest.
+
+The student, however, must have courage. I tell my pupils not to be
+afraid to work freely; that if they spoil their work beyond their
+ability to redeem it, I can always fix it up and restore it for them;
+and that they should go ahead confidently. The reader may say that he
+has no teacher to help him out of his difficulty; but he must remember
+that he has the photographic enlargement as a sure guide, and that
+whenever he fears he is losing the outline, he can see at once what he
+is doing, by holding the enlargement against the light with its back
+towards him. My experience as a teacher has shown me that pupils, as a
+rule, are timid, especially that class which works mostly on
+enlargements, resulting from the fear of losing the outline and from
+lack of a thorough knowledge of drawing. I especially urge the
+necessity for boldness and freedom in execution. As an expert in
+chirography can read character in handwriting, so the artist's public
+will judge him from his work. If he is, in fact, weak and timid, these
+traits will find expression in what he puts on paper. Let courage,
+then, be an important part of your equipment, if you would succeed in
+doing good crayon work.
+
+
+
+
+PHOTOGRAPHIC ENLARGEMENTS.
+
+
+There are three kinds of photographic enlargements used as a basis for
+crayon portraits, and, with a little experience, the student can
+determine for himself which kind will prove the most satisfactory.
+
+Free-hand crayons are made on Steinbach and other crayon papers,
+without any photograph as a basis. Silver enlargements are made on
+paper coated with a solution of chloride of silver, which the action of
+the light reduces to salts of silver. This is the oldest form of
+photography, and has been used since its introduction by Scheele in
+1778. Silver enlargements are made by the aid of the sun (and are then
+called solar enlargements) or they can be made with the electric light.
+
+Platinum enlargements are a recent advance in photographic printing
+with iron salts, the process which has been worked out and patented by
+W. Willis, Jr., being a development of such printing. Its principle is
+that a solution of ferrous oxalate in neutral potassium oxalate is
+effective as a developer. A paper is coated with a solution of ferric
+oxalate and platinum salts and then exposed behind a negative. It is
+then floated in a hot solution of neutral potassium oxalate, when the
+image is formed.
+
+This process was first introduced by Mr. Willis in 1874, and he has
+since made improvements. He claims that the platinotype paper does not
+contain any animal sizing. The early experiments convinced him that the
+paper upon which the image was to be printed would prove an important
+factor, as all photographic paper contained animal sizing, which was
+found to be antagonistic to platinum salts. The action of platinum
+salts upon a paper containing animal sizing gave it a tint which no
+amount of acid washing could remove. For the past nine years Mr. Willis
+has had manufactured for his special use a Steinbach paper, free from
+the animal sizing, and he also uses a cold developer, thereby causing
+the paper to retain its original elasticity.
+
+The chief points of difference between bromide enlargements and silver
+or platinum enlargements are that, in the former, we have the sensitive
+compound of silver suspended in a vehicle of gelatin, and, in the
+latter, a thin coating of an aqueous solution of the sensitive salts.
+In the former process, the image is not shown until the paper has been
+developed in the bath, while in the latter, the image is shown upon the
+paper when it is exposed to the light; so that, in the latter, the
+image or picture has only to be fixed or made permanent, while in the
+former, it is developed, then fixed. The gelatin bromide paper is
+coated with a solution of gelatin, bromide of potassium and nitrate of
+silver, developed with a solution of oxalate of potash, protosulphate
+of iron, sulphuric acid and bromide of potassium and water, and fixed
+with hyposulphate of soda. It is manufactured in America by E. and H.
+T. Anthony & Co. and by the Eastman Dry Plate Company.
+
+
+
+
+CRAYON MATERIALS.
+
+
+The following materials will be found necessary for crayon work:
+
+    A good photographic enlargement,
+    Easel,
+    Mahl stick,
+    Three inch magnifying glass,
+    Square black Conte crayon, Nos. 1, 2 and 3,
+    Charcoal holder for the same,
+    Hardmuth's black chalk points, Nos. 1, 2, 3, 4 and 5,
+    Holder for the same,
+    Box Faber's crayon points, Nos. 1, 2 and 3,
+    Holder for the above crayons,
+    Conte crayon, in wood, Nos. 0 and 1,
+    6 B. Faber's holder for Siberian lead pencil points,
+    4 H. Faber's holder with Siberian lead pencil point,
+    Velour crayon,
+    Peerless crayon sauce,
+    Black Conte crayon sauce, in foil,
+    White crayon, in wood,
+    Bunch of tortillon stumps,
+    Large grey paper stumps,
+    Small grey paper stumps,
+    The Peerless stump,
+    Large rubber eraser, 4 inches by 3-4 inches square, bevelled end,
+    Two small nigrivorine erasers,
+    Holder for nigrivorine erasers,
+    Piece of chamois skin,
+    Cotton batting of the best quality,
+    A sheet of fine emery paper,
+    A sharp pen knife,
+    One pound of pulverized pumice stone,
+    Mortar and pestle,
+    A large black apron,
+    Paste-board box about ten inches square and two inches deep,
+    Back-boards for mounting crayon paper and photographic enlargements,
+    Pliers,
+    Paste brush, three inches wide, to be used for starch paste or for
+      water.
+
+Experience has taught me that we cannot be too particular in giving
+directions as to the materials for our work, and therefore I have
+carefully included in the above list everything necessary to thoroughly
+equip the student. While the magnifying glass mentioned above is not an
+actual necessity, still a good one will be found very useful, as it
+will often show details in the photograph which would not be discovered
+by the naked eye. My male readers may at first object to so feminine an
+article as an apron, but it will be found thoroughly useful, and I am
+sure they will never consent to abandon it after they have once become
+accustomed to wearing it.
+
+
+
+
+THE SPECIFIC USE OF CRAYON MATERIALS.
+
+
+I will now explain the specific use and nature of these materials,
+reserving the various kinds of photographic enlargements and their
+special qualities and advantages, for treatment under their different
+manipulations.
+
+The easel should be set so that the light strikes the picture at an
+angle of 90 deg., and, when working from a side light, it will very
+often be necessary to darken the lower part of the window to accomplish
+this result.
+
+The mahl stick is held in the left hand, and is used as a rest for the
+right arm in working. Though a trifle awkward and difficult at first,
+its use must, nevertheless, be learned, as the hand will not be steady
+without it, especially in portrait work.
+
+The square black Conte crayons are for filling in where there are large
+dark places. The No. 1 is used with the black Conte crayon sauce in
+making the crayon sauce (to be applied with the ends of the fingers) to
+produce a broad effect and to make the stipple effect on the paper
+after it has been rubbed with pumice stone.
+
+The crayon points, Nos. 1, 2 and 3, are used in making outlines and
+also in putting in the lines to produce the line effect. In general,
+they are to be used in free-hand crayons and on silver and platinum
+enlargements.
+
+The Hardmuth black chalk points are similar to the crayon points, and,
+if preferred, should be used according to the directions given for the
+crayon points.
+
+The Hardmuth points are made in five numbers and will, therefore,
+produce more shades of black than the crayon points. They are also
+twice as long as the latter, without costing any more.
+
+The Conte crayons, in wood, are used for finishing the crayon,
+especially the No. 0, its hardness adapting it to that purpose.
+
+The 6 B. Faber's holder, for lead pencil points, is for holding the
+Faber's Conte crayon No. 0 after it has become short, the wood being
+carefully removed before the crayon is placed in the holder.
+
+The 4 H. holder, with Siberian lead pencil point, is used in the very
+finest work on bromide paper, for finishing in the light places. Care
+must be employed not to use too much lead on the paper, as, being of a
+different color from the crayon, it would show if too freely applied.
+It is also used in making monochromes.
+
+Velour crayon is very black. It is only used to produce a velvet effect
+and whenever it is necessary to make a very strong dark--that is, a
+dark that is deeper than an ordinary shadow.
+
+The Peerless crayon sauce is the same as the crayon sauce made from No.
+1 Conte crayon and the black Conte crayon sauce in foil. It is made and
+put up in bottles by F. W. Devoe & Co., and can be bought of any dealer
+in artist's materials. It will be found more convenient to get it in
+this form than to prepare it in the studio; it costs no more and saves
+the expense of a mortar and pestle. As it is ground by machinery and
+passed through a very fine screen, there are no small hard particles in
+the preparation, and its use is recommended.
+
+Black Conte crayon sauce, in foil, is used in making the crayon sauce
+to be applied with the fingers.
+
+White crayon, in wood, is for touching up the high lights of white
+drapery, and especially for the high lights on white lace; it is to be
+used very sparingly.
+
+Tortillon stumps are used in making the face, when it is desired to
+produce the stump effect, and also in making the hair.
+
+The large grey paper stump serves to make the broad effect of shade in
+the stump effect in the hair and dress.
+
+The Peerless stump is used to produce the same effect as the large grey
+paper stump. It will be found far better than the paper stump for work
+on the bromide paper, as it is made of softer material and causes the
+crayon to adhere to the paper more readily.
+
+The large rubber eraser is to put in the broad effects of light in the
+background and dress. The small nigrivorine erasers are used when it is
+necessary to remove the crayon, in order to produce small decided
+lights--principally in making free-hand crayons and to produce the line
+effects over a platinum and silver enlargement. While the stumps are
+used for putting on the crayon, the erasers are used to remove it. The
+chamois is also used for removing the crayon, to produce broad effects
+of light.
+
+The cotton is for applying the crayon sauce to the paper and for
+rubbing the crayon at different stages in the completion of the
+picture. The crayon cannot be removed with the eraser unless it has
+first been rubbed with the cotton; and this must be borne in mind, as
+the use of the eraser at this stage would only result in making a black
+line or spot, when it was intended to produce a white line or spot.
+
+It will also be well to make a chamois block for applying the crayon
+sauce, to be worked with the tortillon stump. This is done by tacking
+onto a block, four inches long, two inches wide and three-quarters of
+an inch thick, a piece of chamois skin, three inches wide by five
+inches long, allowing it to cover the top, while it is fastened along
+the four edges. This is placed face down in the box of crayon sauce and
+rubbed around in it, so that the crayon will adhere thoroughly to the
+chamois.
+
+Emery paper is used to sharpen the nigrivorine erasers and the crayon
+points.
+
+The knife, which is a very important tool, should be a good one, always
+kept well sharpened. The best for this work is an ink eraser, with a
+rounding point, a long edge on one side of the blade and a short one on
+the other side, extending about an inch from the point.
+
+The mortar and pestle are for pounding or grinding the Conte crayon No.
+1 and the crayon sauce, in making the special crayon sauce mentioned
+above.
+
+The paste-board box is intended to hold this special crayon sauce or
+the Peerless sauce.
+
+The back-boards are one inch thick, made to fit the back of the
+strainer (described in the next chapter), and are used in mounting. It
+will be necessary to have three different sizes, the most useful being
+11×15, 15×19 and 19×24 inches, to fit, respectively, strainers
+measuring 16×20, 20×24, 24×29 and 25×30 inches.
+
+The pliers should be either what is known as shoe-maker's pliers (which
+are the cheapest) or the canvas pliers, used in stretching that
+material; they are needed to stretch the cloth on the strainer.
+
+The pulverized pumice stone is used in preparing the surface of crayon
+paper and bromide enlargements, to produce the stipple effect.
+
+
+
+
+THE STRAINER.
+
+
+The strainer, on which crayon paper or any kind of photographic
+enlargement is to be mounted, should be the same size as the intended
+picture. The frame is made of four strips of pine wood, two inches
+wide, one inch thick on the outside, and three quarter inch on the
+inside, making a quarter inch bevel on the inside edge of the face;
+these are nailed together and glued. To this, tack a piece of bleached
+muslin, free from knots and rough places, which has been cut two inches
+larger each way than the frame. Use six ounce Swede upholsterers'
+tacks, placing one in the centre of the outside edge of one side and
+another directly opposite, stretching the muslin as firmly as possible
+with the fingers. Then place a third tack in the centre of the outside
+edge of the top, and a fourth in the centre of the bottom of the frame,
+stretching as before. In finishing, use the pliers in addition to the
+fingers, and remember that you must always stretch from the centre
+towards the corner or you will have wrinkles in the muslin. As this
+process should be thoroughly understood, I will give minute directions
+for completing the operation. Having already placed the four tacks as
+above, stand the strainer on its bottom edge on the floor, with the
+back towards you, and put in the fifth tack two inches to the right of
+the third, that is, the one on the top previously mentioned. Instead of
+stretching the muslin directly back in a straight line towards you and
+at right angles to the fourth tack, you must draw it with the fingers
+towards the right hand corner. Then finish stretching, and tacking this
+edge to the right hand corner of the top, placing the tacks two inches
+apart and taking care to only draw the cloth sufficiently to have it
+perfectly smooth and straight on the edges, leaving the stretching to
+be done with the pliers; then turn the strainer on the side edge and
+tack at two inch intervals from the centre of the other (that is the
+upper) side to the right hand corner, same as before, and then tack
+half of the bottom edge and half of the other side in the same way. You
+will observe that you now have only one half of the muslin tacked--that
+is, one half on each edge--and you then complete the tacking, using the
+pliers to thoroughly stretch the muslin. This method has the advantage
+that you can stretch the muslin on the strainer and get it on better
+and in less than half the time required by the old method; also that
+you stretch the whole surface of the muslin with the pliers, and do it
+with only half the work.
+
+
+
+
+MOUNTING CRAYON PAPER AND PLATINUM AND SILVER ENLARGEMENTS.
+
+
+Wet in clean water a piece of muslin about two inches larger each way
+than the paper you intend to mount, and lay it on the mounting board or
+table, removing all the wrinkles with a wet brush; then place the paper
+on this cloth, face down, and with some water and a brush, wet the back
+of the paper, continuing to use the brush until all the wrinkles are
+entirely smoothed out and the paper lies down perfectly flat. Any
+number of pieces of paper can be wet at the same time by placing one
+over the other, provided the larger sizes are laid down first and each
+is brushed out flat before another is placed over it. Let the paper
+soak for about fifteen minutes.
+
+After having removed the surplus water from the paper with a cloth,
+sponge or squeegee, apply starch paste to the paper with a paste brush,
+going over it thoroughly, until it has received an even coat of paste
+free from lumps. Then lay one of the back-boards on a table and, having
+placed the strainer down on it face up, give the cloth of the latter a
+coat of paste, using the same care you did in going over the paper,
+taking pains to have the edges of the cloth well pasted, and to
+remove, by passing your finger all around the outside edges of the
+strainer, any paste which may be there. Now pick the paper up and place
+it on the pasted surface of the strainer, which an assistant should
+hold tipped towards you. (The help of an assistant will be found almost
+indispensable in mounting). After the paper is in the proper place, lay
+the strainer down and secure each corner of the paper, by first lifting
+it slightly and then rubbing it down with a clean cloth from the
+direction of the centre towards the corner you have lifted up. With a
+sharp knife trim off the edges of the paper and set it away to dry, but
+neither near a fire nor in too cold a place. You can very often save
+the remounting of a paper by occasionally glancing at it as it dries
+and by gently rubbing down a little with the fingers any places that
+look as if they would not stick. Very often the paper will be all right
+with the exception of this difficulty at one edge or corner. This is
+invariably the lower part, and is caused by the water settling there.
+It is therefore advisable to change the position of the strainer two or
+three times as it dries, letting it stand on different edges.
+
+After the paper is dry, if there are any places that have refused to
+stick fast to the cloth, it will be impossible for you to remedy the
+matter, and you must remount it. You proceed, therefore, to remove the
+paper from the cloth. This you do by turning the strainer face down and
+filling the back of it with warm water, allowing it to remain there
+until you think that the paste has become thoroughly dissolved; then
+turn the strainer over and carefully remove the paper. If it should not
+come off readily, fill the strainer again with water, and soak it until
+it will come off. After you have removed the paper, lay it on a wet
+cloth, and with a case knife clean off the starch, using care not to
+injure the surface of the paper, and also clean off the starch from the
+strainer; then proceed to remount as before. When you once understand
+that you cannot spoil an enlargement on account of defective mounting,
+you will work more confidently. After you have tried three times to
+remount, and the paper still insists in not sticking, you must take a
+new strainer, as too many wettings will have spoilt the cloth and wood.
+Sometimes there seems to be a difference in the stretching qualities of
+the enlargement and cloth, which makes it impossible to produce a
+perfect cohesion. When, therefore, it has been remounted three times
+and does not come out perfect, your best course is to mount a piece of
+crayon paper on a new strainer, and after it is thoroughly dry to then
+mount the enlargement on that. This you do in the manner described for
+mounting in the first instance, directly on the strainer, except that
+you do not coat with paste the crayon paper already mounted.
+
+It sometimes happens, that after the paper has been mounted and dried,
+it is discovered that lumps in the paste have caused defects to appear
+on the face of the paper in the shape of raised surfaces that unfit it
+for the intended purpose. These can be entirely removed by wetting the
+back of the strainer with some clean water immediately behind where the
+lumps of paste are, and with a knife scraping the cloth a little at
+these places; the surplus paste will work itself out through the cloth.
+
+The starch paste used in mounting should not be made very thick; on the
+contrary, it should be as thin as is consistent with still retaining
+all its adhesive qualities. Should you fear that it is too thick or
+lumpy, strain it through a piece of cheese cloth. In a former edition
+of this book I advised adding to the paste a little white glue
+dissolved in warm water, but I do not now consider this necessary for
+crayon paper or photographic enlargements, and do not recommend its use
+except for mounting paper of unusual thickness.
+
+The foregoing directions for mounting apply to platinum or silver
+enlargements, crayon or other kinds of paper, but not to bromide
+enlargements. The bromide paper requires a different method of handling
+on account of the gelatin surface, which when wet is destroyed by
+contact with any dry substance, as the latter removes the gelatin.
+
+For determining the proper position of photographic enlargements (bust
+pictures) on the strainer, the following scale will be useful as a
+general guide. When the size of the strainer is 16×20, 20×24, 22×26, or
+25×30 inches, the distances from its top to the top of the head of the
+portrait should be respectively 3-1/2, 4, 4-1/2 and 5-1/2 inches.
+
+
+
+
+MOUNTING BROMIDE ENLARGEMENTS.
+
+
+The first requisite for this is a water-tight tray, large enough to
+hold the enlargements. A hard rubber tray can be purchased, or a wooden
+one that will answer the purpose may be made. I use one of my own
+construction that is cheap and serviceable. It is simply a wooden box,
+27×32 inches and 4 inches deep, made of 1/2 inch grooved material and
+lined with black oil cloth, not cut at the corners, but folded in. In
+this, when about half full of water, lay the enlargement face up, and
+let it remain in the water fifteen minutes. It should then be laid face
+down on the wet cloth (which should be all ready) as described in the
+preceding chapter, for mounting crayon paper. Care must be exercised to
+have the cloth wet all over, for if there should be any dry spots in it
+they would ruin the gelatin surface. With a cloth or squeegee remove
+the water from the back of the enlargement and also from the cloth
+around its edges, for if there is too much water on the edge of the
+cloth it will work up into the paste and prevent it from sticking when
+mounted. Now paste the enlargement and strainer according to the
+directions given for mounting crayon paper, place the enlargement on
+the strainer and rub it down by using the fingers wet in a little
+water, or the squeegee can be used; and then trim off even with the
+outside of the strainer. Avoid rubbing too hard along the edges, as by
+so doing you will press out all the paste and it will not stick.
+
+You can remount a bromide enlargement as often as necessary in case it
+does not come out perfect, only bear in mind that you must not allow
+anything dry to touch the surface when wet. But I should not advise you
+to try more than three times directly on the strainer. It would be
+better to mount a piece of crayon paper on a new strainer, and after it
+is dry to remount the bromide enlargement on that.
+
+
+
+
+OUTLINES--NEGATIVE OUTLINE.
+
+
+After the crayon paper has been mounted on the strainer and dried, the
+next step is to obtain the outline. I will first treat of free-hand
+crayons, taking it for granted that the reader is not able to produce
+crayons from life, but works from a photograph. There are five
+different methods of making an outline, from which the reader can make
+his own selection.
+
+[Illustration: NEGATIVE OUTLINE--DARK CHAMBER.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Make a negative from the photograph that is to be enlarged, and
+construct for a room that is entirely dark, with the exception of one
+window, a dark inside shutter, with an opening in it the size of the
+negative you intend to use. Place a cleat on each side and at the
+bottom of this opening, so that the negative may be made to slide in
+front of it. Having removed the ground glass from your camera box,
+fasten the latter against the shutter so that the opening comes in the
+centre of the box. You can fasten it with four hooks and eyes, or
+arrange cleats on the shutter and pieces on the box, so that it will
+slide into place. Be sure and have the box come tight against the
+shutter so that the light will be entirely excluded. Place the negative
+over the small opening in the shutter and adjust the camera box; then
+stand the easel with the crayon strainer on it at the proper distance
+to give the required size of the enlargement and focus the image sharp
+on the crayon paper. The strainer must stand at the same angle as the
+shutter; that is, if the shutter is perpendicular then the strainer
+must stand perpendicular also. Then go over the outline and shadow
+lines with the charcoal, after which open the shutter and examine the
+outline and see if it is right. As you are working in the dark you are
+apt to overlook some lines. If you have done so you can close the
+shutter again and make them. If it proves to be all right go over it
+with the crayon point No. 2.
+
+
+
+
+MAGIC LANTERN OUTLINE.
+
+
+[Illustration: McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+[Illustration: MAGIC LANTERN OUTLINE.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+This is the method I am using at present in my own free-hand crayon
+work, and prefer because it does not require a negative. I use a
+McAllister Magic Lantern, No. 653, with a wonder camera attachment.
+This attachment enables you to make an enlargement from a cabinet or
+card photograph, and to dispense with a negative. If you intend to do
+very much free-hand crayon work I should advise you to get one, as it
+will soon pay for itself. The lantern should be put in working
+condition according to the printed directions that come with it, and
+placed on your table. I use a table six feet long, sixteen inches wide,
+and thirty inches high. Nail to one side of the table, four inches from
+the end, a stick six feet long, one inch wide, and one-half inch thick,
+using two two-inch brads. One end of the stick should rest on the
+floor, care being taken that it stand perfectly perpendicular, a square
+being used if necessary to secure this result. The stick will have a
+length of 42 inches above the table, which will be ample for the use of
+a 25 by 30 strainer. Place the strainer, with the crayon paper mounted
+on it, facing outward on its bottom edge on the table and nail it fast
+to the stick with two brads, letting it stand at right angles with the
+edge of the table with its back towards the lantern, which is at the
+other end of the table. The object of placing the strainer with the
+back towards the lantern is that the image must show through the
+strainer or the outline would be drawn reversed. Draw a charcoal mark
+on the back of the strainer vertically through the centre, and mark the
+proper distance from the top of strainer horizontally where the top of
+the head should come. Now move the lantern until you have it the proper
+distance from the strainer to make the head the size desired, and
+afterwards focus the features sharp and distinct, using the charcoal
+marks for the proper place to make the head, the vertical line coming
+through the centre of the face; then, seated at the end of the table,
+in front of the strainer, make a charcoal outline as in the former
+method.
+
+Of course the magic lantern can be used for producing an outline only
+at night, or in a perfectly darkened room.
+
+The following table will prove a safe guide to follow in determining
+the size of the head for bust pictures. The distance from the roots of
+the hair on the forehead to the bottom of the chin should be:
+
+    For 14 by 17 inch pictures, 4     inches,
+     "  16  " 20   "     "      4-1/2   "
+     "  18  " 22   "     "      5       "
+     "  20  " 24   "     "      6       "
+     "  22  " 27   "     "      6-1/2   "
+     "  25  " 30   "     "      7       "
+     "  29  " 36   "     "      7       " showing the hands.
+
+
+
+
+TRANSFER OUTLINE.
+
+
+For this method an enlargement made from the photograph is required,
+but it needs to be an enlargement of the head only--that is, a 11×14
+inch enlargement of the head will answer for a 25×30 inch crayon
+portrait, and serve as a guide to work from in making the crayon.
+
+Transparent tracing paper (made of fine tissue paper, oiled with
+clarified linseed oil and then dried,) is laid on the enlarged
+photograph, and the outline gone over with a soft lead pencil. The
+tracing paper is then turned and its back is rubbed all over with
+charcoal, when it is laid charcoal side down on the mounted crayon
+paper, and carefully fastened with four thumb tacks. The lines first
+made are then gone over with a sharp pointed lead pencil. When the
+tracing paper is removed a perfect outline in charcoal is found to have
+been made. This should then be gone over with the crayon point No. 2.
+The rest of the portrait is sketched in from the original picture.
+
+
+
+
+THE METROSCOPE
+
+
+Comprises a series of squares accurately engraved upon the finest plate
+glass by machinery. The two plates of glass (of which one form of the
+instrument consists), are ruled for convenience with squares differing
+in size. These are framed and held together by thumb screws, allowing
+sufficient space between them for inserting and securing a picture the
+size of a cabinet photograph. The lines are thus brought into such
+perfect contact with all parts of the photograph so that they appear to
+be drawn on it. One feature of this instrument which renders the square
+system very practical, consists of the division and sub-division of the
+squares by dotted lines and dash lines. The eye naturally divides a
+line or space into halves and quarters, and for this reason the dash
+lines have been designated for quartering the main lines, and the
+dotted lines for quartering the squares thus formed. This gives sixteen
+times as many squares for use as are drawn upon the photograph.
+
+A method based on the same principle as the metroscope, but not
+requiring the use of that instrument, may be pursued, as follows:
+Fasten the photograph to a board, mark the space at the top, bottom and
+sides into one-quarter inch divisions, and drive sharp pointed pins in
+each of the division marks. Taking a spool of white thread run it
+across vertically and horizontally from each pin to the one opposite,
+and you will then have the photograph divided into one-quarter inch
+squares; then, if your enlargement is to be six times the size of the
+photograph, take the mounted crayon paper and divide the sides and top
+and bottom in 1-1/2 inch squares, run thread across the same as for the
+photograph, and then proceed to draw the outline, first in charcoal,
+and afterwards with the crayon. The spaces marked on the crayon paper
+should in each case, of course, be as many times greater than those
+marked on the photograph as the intended enlargement is greater than
+the photograph.
+
+
+
+
+THE PANTOGRAPH.
+
+
+This instrument for enlarging or reducing a picture was invented about
+the year 1603. It consists of four metallic or wooden bars or rules,
+which are perforated by a series of holes (numbered from 1 to 20), and
+connected together by means of an adjustable thumb screw. The
+instrument is provided with a tracing and a marking point, and a screw
+or point which is forced into the drawing board to hold the instrument
+in position. A good pantograph will cost about two dollars; those of a
+cheaper grade are entirely worthless for practical use, while a good
+one will last a life time. A little experience will enable any one to
+learn the use of the numbers.
+
+To employ the instrument select the number on the bars corresponding to
+the number of times the subject is to be enlarged, and connect the
+adjustable ends of the bars so that they intersect at this number;
+secure the pantograph to the drawing board at the left hand side; place
+a piece of manilla paper at the other end of the board and secure it
+with thumb tacks, taking care to smooth all the wrinkles out. Next
+adjust the marking point in the centre of the paper; and secure the
+photograph to the board so that its centre shall be directly under the
+tracing point, which should always touch it. If it does not do so at
+first, place a little weight on the instrument over this point heavy
+enough to bring it in contact with the photograph. Now guide the
+instrument, by taking hold of the tracing point while at the same time
+you watch the marking point. In this manner go over the entire
+photograph, putting in all the details necessary, after which you can
+transfer this outline to the crayon paper by means of the tracing paper
+according to the former method given for transferring an outline.
+
+These are all the best methods of producing an outline. In each of them
+you fasten the charcoal lines with the No. 2 crayon points, and then,
+having brushed off the charcoal, proceed to put in the background for
+your portrait. This you do by any one of the methods given in the
+following pages.
+
+
+
+
+FOUR METHODS OF MAKING THE BACKGROUND.
+
+
+The background can be made first, with the crayon sauce and the use of
+the large gray stump and rubber eraser; second, with the cotton and
+rubber, by using the cotton in applying the crayon sauce to put in the
+dark places in the background, and then finishing with the rubber;
+third, by the use of the line effect; and fourth, by the stipple
+effect, produced by the use of pumice stone. This last I consider far
+superior to any of the others, as it changes the appearance of the
+surface of the paper entirely, and produces an effect altogether
+different from that ordinarily shown in a background. It is also free
+from the mussy, dirty appearance which is produced by the use of the
+cotton and crayon sauce alone. I have been repeatedly asked by both
+amateurs and professionals what kind of paper I use in free-hand
+crayons. The inquiry arose from the fact that treating the paper by the
+fourth method changes the appearance of the surface of the paper and
+also its color. I have never before, however, given to the public, nor
+even to my pupils, the secret of this process. When the pupil has
+mastered it so as to once produce the satisfactory effect of which it
+is capable, he will find that it has all the advantages I claim for it
+and is a secret well worth knowing, in fact, what would be termed one
+of the tricks of the profession, and a very valuable one. I must
+confess, however, that I discovered it by an accident. I had been
+experimenting for years in making backgrounds in order to produce an
+effect that was entirely satisfactory to me, and had failed to reach
+just what I wanted. One day, however, I was at work on a portrait that
+I was very particular with, but the background of which proved quite
+unsatisfactory to me. In despair I threw on a handful of pumice stone,
+intending to entirely remove the background by its aid, when, to my
+surprise and delight, I found I was producing the very effect that I
+had been seeking for years, namely, one rendering the background of a
+different color from the face and giving it a clear, transparent
+appearance, so that the eye seemed to penetrate it, quite different
+from the opaque, almost dirty backgrounds, resulting from the use of
+other methods.
+
+I will treat each of these methods in separate chapters further on.
+
+
+
+
+FREE-HAND CRAYONS AND THOSE MADE FROM PHOTOGRAPHIC ENLARGEMENTS.
+
+
+The principal difference between the appearance of free-hand crayons
+and those that are made over a photographic enlargement, is that in the
+former the shadows are lighter and more transparent. In the matter of
+feeling, however, the free-hand crayon is much more satisfactory to the
+artist for he knows it is all his own work, and that he has not
+depended on the photographic enlargement to help him make the portrait.
+
+After the outline has been drawn, in making a free-hand crayon, the
+portrait is still not yet in the same state of advancement as a silver,
+platinum or bromide enlargement; for the reason that the latter not
+only has the outline, but also the faint impression in light and shade
+of the rest of the portrait. I will, therefore, in the next chapter,
+give instructions for filling in the free-hand crayon up to such a
+degree of light and shade as shall put it in the same condition as the
+enlargement. From that point on the same directions (to be subsequently
+given) for finishing the portrait will apply equally to both the
+free-hand crayons and the enlargements, except that the bromide is
+understood to require special treatment.
+
+The frontispiece was made from a free-hand crayon which was executed on
+Steinbach crayon paper with a magic lantern outline. This shows the
+stipple effect in the face and drapery, and a broken line effect in the
+background. The student will notice the difference between this
+illustration and that facing page 81, which was made from a bromide
+crayon. In the bromide crayon the shadows are dark and strong, while in
+this they are lighter and more transparent.
+
+
+
+
+FILLING IN THE FREE-HAND CRAYON.
+
+
+Having your crayon outline already made on the mounted strainer, lay
+the latter down on the table face up, and proceed to put in a pumice
+stone background with the crayon sauce according to instructions
+hereafter given on page 70 for producing that kind of background,
+making sure that you go entirely over the outline. Then place the
+strainer on the easel, and after putting in the cloud effect take the
+chamois block in your left hand, and, with a tortillon stump in your
+right, put in the shadows in a strong, clear and decided manner.
+Commencing on the hair, put in the broader shadows first, working the
+stump in the same direction that the lines of the hair go, and endeavor
+to give the soft flow that the hair should have, avoiding making lines
+or any attempt to make individual hairs. The eyebrows should then be
+put in in the same way as the hair, care being taken to preserve the
+form; then the eyes, beginning with the upper lids, putting in the
+lines between the eye and the lid, and also the second line forming the
+lid. Do not line in the lower lid between the eye and the lid, but put
+in the under line of the lower lid. Next form the pupil, placing it in
+the centre of the iris, making it very dark; then the iris, noticing
+in particular that the upper lid throws a shadow on the top of the
+iris; then the shading of the nose and nostrils and shadows under the
+nose. The mouth is the next important feature, and, as there are no
+decided lines in it, you must put in none, but have the degrees of
+light and shade form the mouth. Begin with the corners, and notice
+carefully that here lies nearly the whole expression of the lower part
+of the face; next treat the central point of the lips and complete the
+mouth; then make the shadows around the mouth and chin, after which,
+put in the ears, and then model up the face, making all the shadows
+broad and decided, leaving the details for the finishing touches, but
+being careful in the modeling to retain all of the values. Next put in
+the clothes with the large stump, sweeping it gently across the lights
+in different directions, allowing the lines to cross each other
+occasionally. Carefully preserve the form in this, giving the proper
+shape to the lapels of the coat or folds in the dress, and to the arms.
+Avoid detail and do not carry the clothes as far down as you want them
+to show in the finished picture. Lace work should not have too much
+detail, but be made somewhat indistinct; only show a few of the forms
+out sharp and defined, giving the pattern.
+
+
+
+
+LINE EFFECT.
+
+
+This can be produced in crayon portraits made over a photographic
+enlargement, or in free-hand crayons after the filling in just
+described has been done. 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 represent 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, as that is the way the
+grain of the board would be. If we should take the same board and bend
+it in the form of a circle, we would in order to represent the board in
+that position, draw lines running in a circle to correspond with the
+grain and position of the board. The idea to be impressed is, that when
+we want to represent an object with crayon and that object is flat, we
+draw straight lines to represent its surface; and when the object is
+round or partly so, we draw curved lines, conforming them 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 light places of an object we will see its grain or
+texture, and that grain or texture will gradually become obscured as it
+enters the shadow until it is entirely lost in the deepest shadows.
+This grain will not show in nature as decided where the strongest
+lights are as it will in the half shadows; and, therefore, in the
+crayon representation the grain effect should show more decided in the
+half shadows. If your crayon is not true in this respect, it will
+appear coarse and fail to please as a work of art on account of its
+falsity to nature. The line effect is produced throughout the whole
+picture, in the background, face and dress.
+
+
+
+
+STIPPLE EFFECT
+
+     _On a photographic enlargement or a free-hand crayon after
+     the outline and masses of light and shade have been made
+     with the tortillon stump, as explained on page 55._
+
+[Illustration: LINES TO PRODUCE THE STIPPLE EFFECT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+When putting in a background with the pumice stone as described in the
+fourth method on page 70, treat the whole surface of the paper with
+pumice stone in order to raise the grain of the paper, but go over the
+face lightly. Then place the strainer on which the portrait is mounted
+on the easel, and put in the shadows with the tortillon stump,
+producing the lights with the eraser; finish with the No. 0 crayon. But
+instead of producing a diamond effect, as you did with the lines, you
+now want to have a stipple effect, which is that of small black and
+white spots; the paper producing the white spots, and the crayon the
+black ones. To produce this make the lines in the shadows and
+half-shadows, but not in the light places, in the manner shown in the
+illustration on the following page; instead of crossing them to form
+diamonds, using short lines and varying their direction and
+intersection with reference to the ultimate effect; then rub them with
+the end of the finger. In finishing, gradually divide up all the small
+light parts with the pencil and the dark with the eraser: if it is
+necessary at any time to rub the crayon, use the end of the finger
+instead of the cotton. Be careful not to get too much crayon on the
+paper, that is, you must not "force up" or be compelled to make the
+shadows too dark by the use of the crayon; they should be made as dark
+as necessary with the stump before finishing. Should you find in
+finishing that they are not dark enough, use the stump to make them
+darker, as the pencil is only intended to give the stipple effect, and
+should be used in a very light and delicate way. Continue the process
+of finishing according to the directions hereafter given for bromide
+enlargements. The foregoing illustration is the first or ground work
+for the stipple effect produced by the aid of the fingers. To obtain
+this effect without rubbing with the fingers, make small black dots,
+instead of the lines shown above, until the desired effect is produced.
+The latter method results in a coarser stipple effect, but it requires
+a much longer time and is more difficult than the former.
+
+
+
+
+BACKGROUNDS--GENERAL PRINCIPLES.
+
+
+Always commence the portrait by putting in the background. Among the
+four different methods which I have given, the student can make his own
+selection. For myself, I prefer the last two mentioned.
+
+There can be no definite rule given for the lights and shadows in the
+backgrounds, as every portrait will need a characteristic background
+adapted to the subject. There should always be a nice disposition of
+light and shade, the light coming against the dark side of the face and
+the dark against the light side, and generally a cast shadow. What this
+is may be learned by setting a cast (or any other object) near the
+wall, letting the light strike it at an angle of 90 degrees, and
+noticing the size and position of the shadow thrown on the wall. The
+cast shadow in your background must not be too near the head, as
+simplicity should be one of the principles of the background, and this
+can only be attained by breadth of light and shade. The background is
+of secondary importance, and should not intrude itself on the portrait
+in its effect of lines or light and shade. Backgrounds for half or full
+length figures need especial study in their effect of lines, and one
+who intends to succeed in making them properly should study linear
+composition in Burnet's essay on Composition,[A] especially the
+following passages. "Composition is the art of arranging figures or
+objects so as to adapt them to any particular subject. In composition
+four requisites are necessary--that the story be well told, that it
+possess a good general form, that it be so arranged as to be capable of
+receiving a proper effect of light and shade, and that it be
+susceptible of an agreeable disposition of color. The form of a
+composition is best suggested by the subject or design, as the fitness
+of the adaptation ought to appear to emanate from the circumstances
+themselves; hence the variety of compositions.
+
+"To secure a good general form in composition, it is necessary that it
+should be as simple as possible. Whether this is to be produced by a
+breadth of light and shade, which is often the case with Rembrandt,
+even on a most complicated outline, or by the simple arrangement of
+color, as we often find in Titian, or by the construction of the group,
+evident in many of Raphael's works, must depend upon the taste of the
+artist. It is sufficient to direct the younger students to this
+particular, their minds being generally carried away by notions of
+variety and contrasts.
+
+"In giving a few examples of composition, I have confined myself to the
+four simple and principal forms, not only from their being most
+palpable, but also from their possessing a decided character, which is
+at all times desirable. To those who imagine that such rules tend to
+fetter genius, I shall merely quote Sir Joshua Reynolds, whose works,
+if properly understood, render all other writings on the subject of
+painting superfluous: 'It must of necessity be that even works of
+genius, like every other effect, as they must have their causes, must
+likewise have their rules. It cannot be by chance that excellencies are
+produced with any constancy or any certainty, for this is not the
+nature of chance; but the rules by which men of extraordinary points,
+and such as are called men of genius, work, are either such as they
+discover by their own peculiar observations, or are of such nice
+texture as not easily to admit being expressed in words; especially as
+artists are not very frequently skillful in that mode of communicating
+ideas. Unsubstantial, however, as these rules may seem, and difficult
+as it may be to convey them in writing, they are still seen and felt in
+the mind of the artist, and he works from them with as much certainty
+as if they were embodied, as I may say, upon paper. It is true these
+refined principles cannot be always palpable, like the more gross rules
+of art, yet it does not follow but that the mind may be put in such a
+train that it shall perceive, by a kind of scientific sense, that
+propriety which words, particularly words of unpractised writers such
+as we are, can but very feebly suggest.' (Sixth Discourse)."
+
+FOOTNOTES:
+
+[Footnote A: Essays on Art, by John Burnet, New York, E. L. Wilson.]
+
+
+
+
+FIRST METHOD OF MAKING THE BACKGROUND--STUMP EFFECT.
+
+
+To produce the stump effect, rub the chamois block in the box of crayon
+sauce, and then with the large grey paper stump commence by putting in
+the darkest parts and the cast shadow. Use the broad end of the stump,
+moving it over the surface of the paper with an even and uniform
+pressure, so that you will not make any dark spots. Make broad lines
+and have them cross each other so as to form diamond shaped spaces,
+using considerable care and a very light touch in the lighter places.
+Finish with the large rubber eraser, cutting it so that it will make
+white lines about the same width as the black lines made with the
+stump. Have these light lines run into the dark ones in some places,
+and use the rubber so as to produce a dashing effect.
+
+
+
+
+SECOND METHOD OF MAKING THE BACKGROUND.
+
+
+Take a handful of cotton batting, rub it in the box of crayon sauce,
+and then on a piece of paper before applying it to the crayon paper to
+make the background, being careful to avoid rubbing harder in some
+places than others, as dark spots are likely to be caused in that way.
+Commence by rubbing in close to the face and work out towards the edge
+of the paper. Let the darkest part be closest to the face, shading out
+in the form of a circle about six or eight inches from the face,
+according to the subject, the upper line of the arc coming a little
+above the head. Then make the cast shadow and finish with the large
+rubber eraser, putting the lights, or cloud effect, as it is called, in
+the background. When doing this, place the strainer high enough on the
+easel to bring the centre of the picture on a level with your eyes,
+then standing in front of it and about six feet off, decide upon your
+plan of light and shade. After you have put in the first of the lights,
+step back to the former position, and see if it gives the proper
+effect. Continue this method of working until the background is
+entirely completed.
+
+
+
+
+THIRD METHOD OF MAKING THE BACKGROUND--LINE EFFECT.
+
+
+With the cotton and crayon sauce as in the preceding method, put in the
+dark places and cast shadow, but not as dark as you want them when
+finished; then with the crayon point No. 2 put in three sets of lines
+thus:--
+
+[Illustration: BACKGROUND. LINE EFFECT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Do not carry out the lines as far as the background will extend when
+finished. The lines should be one-quarter of an inch apart in life-size
+portraits, and a little closer in smaller sizes. As a rule the lines
+are a little further apart in the background than in the face. These
+lines need not be horizontal, crossed by oblique ones at obtuse angles,
+but they can be curved lines, if desired, provided they cross each
+other so as to leave diamond shaped spaces. After the lines are in rub
+a piece of clean cotton over them all, using pressure enough to subdue
+them to the degree of indistinctness desired; then finish with the
+large eraser and crayon point No. 2, putting in the cloud effect. Such
+lines as show too prominently you subdue with the nigrivorine eraser.
+If there are any light places, make them dark with the crayon.
+
+The background should be very indistinct on the edges, and be vignetted
+in the shape of an oblong, having some very light clouds above and on
+either side of the head. Let there be a nice contrast between the face
+and the background, having light come against dark and dark against
+light; that is, when one side of the face is dark and one side light,
+have the background light against the dark side, and dark against the
+light side; when light and shade are about equal on both sides of the
+face, have the background about the same shade on both sides, without
+too decided a cast shadow. If you have a subject that has gray hair,
+have the background darker than it would be otherwise. The background
+should never be darker at any place than the shadows in the face, and
+close to the face it must be a shade between the light and half
+shadows. Never resort to the practice of leaving the background white,
+as this will only give a hard, stiff appearance. Clean off the outside
+edges of the background with a clean piece of cotton and the pumice
+stone.
+
+
+
+
+FOURTH METHOD OF MAKING THE BACKGROUND--STIPPLE EFFECT.
+
+
+Lay a piece of manilla paper on the table about twelve inches larger on
+each edge than your strainer, placing the strainer on it face up; rub a
+handful of cotton batting first in the crayon sauce and then on the
+manilla paper to remove any foreign substance. Then apply the cotton
+with a circular motion to the crayon paper to make the background
+desired. Next sprinkle the pulverized pumice stone over the entire
+background, and go over this with the fingers in a circular movement,
+using them flat from the second joint to the ends; then lift the
+strainer up, and, resting it on the edge, jar off all the pumice stone,
+and when this is done, lay it down again and rub it off with a clean
+piece of cotton. Now rub the fingers in the crayon sauce, keeping them
+flat so that it will adhere evenly to them, and go over the background
+lightly as when rubbing in the pumice stone and you will produce a nice
+stipple effect. Finally, place the strainer on the easel, and finish
+according to the directions given for finishing crayons made on bromide
+enlargements.
+
+Of course it will need considerable experience before you can succeed
+in doing this perfectly, but patience and perseverance will ultimately
+accomplish the desired end. There are two matters of importance to be
+borne in mind in making these backgrounds--first, do not have any
+small, hard pieces of crayon on the cotton when you rub it on the
+paper, and second, use the fingers in as flat a position as possible,
+for if you do not have them flat down on the paper you are likely to
+make dark spots in the background.
+
+
+
+
+FACE--LINE EFFECT.
+
+
+[Illustration: LINE EFFECT FOR FACE.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Commence on the hair with the crayon point No. 2, and put in all the
+shadows and half-shadows, carefully preserving the lines of direction,
+but avoid working over the lights more than necessary; then with the
+crayon point No. 1 strengthen all the shadows about the eyebrows, the
+eyes, the mouth, the chin and the ears. Next put the lines in the face.
+The following illustration shows the lines before they are rubbed. It
+will be well to remember that only two sets of lines are used in the
+face, as shown in the illustration, and the same number in the dress,
+while there are three sets required in the background. The lines in the
+face should be a little closer than those in the background, while
+those in the dress are about the same as those in the background.
+
+In the effect of the lines in the face lie the chief merit and beauty
+of this method of crayon work. When properly drawn, the lines represent
+and give the grain of the flesh in a very beautiful broken effect. They
+are drawn so as to leave spaces shaped like diamonds, but in the
+finishing should be so treated as to lose their regularity, and to have
+the effect of "broken diamonds." If you will examine the back of the
+wrist joint when your hand is bent slightly backward, you will see more
+clearly what is meant by the term "broken diamonds" in the slight
+ridges which show the grain of the flesh. Begin with the forehead,
+using the crayon point No. 1, and put in one set of lines straight
+across, but curving downwards as the forehead commences to round off
+towards the hair at the sides; then one more set of lines in the
+direction that will produce the diamond spaces, continuing these two
+sets of lines throughout the face. These lines intersecting at the
+proper angles will indicate the grain of the flesh, if the line of
+direction be carefully followed. Remembering that the face is not a
+flat surface, make the lines darker in the shadows and lighter as they
+approach the lights. The high lights on the forehead, the nose, the
+highest point of the chin, and around the mouth, should, however, have
+no lines over them.
+
+Having put in these lines take a small handful of cotton, and rub the
+hair and face over both the high lights and shadows, the motion
+following the line of direction; that is, being straight across the
+forehead, curving towards the hair at the sides, and circular on the
+cheeks. Care should be exercised not to rub too hard, it being a common
+fault of the beginner to rub the paper too much, and produce a dirty
+effect. The lines should be merely rubbed until they are somewhat
+blurred and indistinct. Remember that the crayon portrait is made on
+the surface of the paper, and not rubbed into it. After it has thus
+been treated with the cotton, go over the shadows with the crayon point
+No. 1, and rub again with the cotton.
+
+The face of the crayon will now be about three shades darker in the
+lights than it should be when finished, and not quite dark enough in
+the shadows. Finish it with the No. 0 crayon and nigrivorine eraser,
+using the latter wherever a lighter effect is required; also break up
+the regularity of the diamond spaces, and whenever a line shows too
+prominently subdue it with the eraser.
+
+If you would succeed in making good crayon portraits, it will be
+necessary for you to cultivate a light touch with the crayon in
+finishing.
+
+The eraser is one of the principal instruments employed in making
+crayon portraits, and is used the same as if it were a crayon pencil,
+that is, on that principle, the difference being that you make white
+lines with it instead of black ones. Keep the eraser to a sharp point
+in the following manner: take a piece of emery paper about three inches
+square, and place it in the left hand between the index and second
+fingers, holding the fingers about half an inch apart, and bending the
+paper to fit between them; then rub the eraser in the crease thus
+formed, holding it at an acute angle. Sometimes it is necessary to
+sharpen the eraser with a knife or a pair of scissors before rubbing it
+on the emery paper. In working with the eraser on the crayon paper do
+not rub hard enough to remove all the crayon from the surface of the
+paper, except in producing the high lights and the white of drapery.
+Notice in particular in finishing the hair that where it touches the
+forehead there are no lines, as the light and shade should blend
+together so nicely as to leave no decided line between them.
+
+
+
+
+DRESS--LINE EFFECT.
+
+
+[Illustration: LINE EFFECT FOR DRESS.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+The above illustration represents the effect of the lines in the dress.
+In putting them in let every fold, sleeve and lapel have lines of its
+own, that is, lines differing in direction so as to discriminate it
+from the other parts of the clothing. These distinctive lines will lose
+themselves in the wrinkles, in shadows, and in the next fold, where the
+lines will have a different direction. The illustration is very crude,
+as it shows the lines before they are rubbed with cotton; after that
+process they have quite a different appearance. In men's clothing the
+lines may be drawn a little farther apart than in the treatment of the
+finer texture of ladies' garments. After you have put in the lines with
+the crayon point No. 2, go over them with a piece of cotton previously
+rubbed in the crayon sauce, and then complete this part of the work by
+the use of a dull eraser for the smaller lights, and the chamois for
+the broad lights.
+
+The crayon is now in good condition for finishing, which you will
+proceed to do by the use of No. 0 Conte crayon and the nigrivorine
+eraser, softening the lights with the former and the shadows with the
+latter, until you have the whole portrait subdued, and no decided lines
+of light and shade. Of course throughout these processes you must pay
+close attention to all the characteristic points in the likeness, so
+that the crayon will be a true and life-like reproduction. Do not sit
+too close to the crayon in finishing; if you do, you will be
+disappointed when you come to look at it from a slight distance, and
+will not find at all that enchantment which distance is said to lend to
+the view, as the crayon will disclose a spotty effect, and too great a
+contrast between the lights and shadows.
+
+
+
+
+BROMIDE CRAYONS.
+
+
+In the bromide enlargement, while the paper has to undergo all the
+different manipulations of development, fixing and washing, that the
+platinum and silver enlargements do, yet the gelatin is not removed,
+and, when dry, remains as a strong sizing to the surface of the
+paper--in fact, so strong, that in some of the different kinds of
+bromide paper the surface is very nearly as hard as glass, and,
+therefore, the crayon cannot be used upon it with good results until it
+has received a special treatment, as the crayon would only make a black
+scratchy mark.
+
+It has been said that the bromide paper and enlargement were entirely
+different from the platinum or silver enlargement and the crayon paper.
+While there is not as much difference between the bromide and other
+enlargements as there is between the former and the crayon paper, there
+should be this difference: the silver or platinum enlargement should
+only be printed strong enough to give the form and the larger details
+in the negative, while the bromide enlargement must be as nearly a
+perfect photograph as can be produced from the negative.
+
+[Illustration: FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE--STIPPLE EFFECT THROUGHOUT. BY J. A.
+BARHYDT.]
+
+From the fact that, on account of the difference in the surface of
+the paper, there cannot be as much crayon put on the bromide
+enlargement as on the other kinds of paper, and that, therefore, it
+cannot be strengthened to the same degree in the shadows without
+spoiling the nice transparent effect that a bromide should have there,
+it follows that the best bromide crayons are those on which the least
+crayon is used to produce the desired effect. The bromide paper, on
+account of the gelatin surface, will not take the crayon from the stump
+as readily as the other kinds of paper; but after the surface has been
+treated with the pumice stone this objection is removed, and the paper
+can be worked on with the stump readily. I can say from my own
+experience, that for producing a crayon over a photographic enlargement
+with the stipple effect, it has no equal in the beauty of finish and
+rapidity of execution.
+
+The illustration facing this page was made from a crayon executed over
+a bromide enlargement from the original negative. Better results can
+always be reached in a bromide enlargement when it is thus made from
+the original negative. The student will notice in particular the
+stipple effect in the reproduction.
+
+
+
+
+FINISHING BROMIDE ENLARGEMENTS.
+
+
+Examine the enlargement mounted on the strainer, looking at it from the
+side, to learn if there is any starch on the surface of the paper
+before commencing work on it. If there is any, carefully wash it off
+with a sponge and some clean water, and then set the enlargement aside
+until it has thoroughly dried. Then lay it down on the table with a
+piece of manilla paper under the strainer about 12 inches longer on
+each edge than the latter; take a handful of cotton, first rubbing it
+thoroughly in the crayon sauce, then on the manilla paper, and finally
+going over the surface of the enlargement with it in a circular motion.
+Then sprinkle pumice stone over the portrait, and using the ends of the
+fingers flat, rub it over the entire surface of the paper. This
+treatment cuts through the gelatin surface and prepares it for the
+stipple effect. Now stand the strainer on its edge and jar the pumice
+stone off, after which lay it down on the table, and with a piece of
+clean cotton lightly brush off the surface; then, having rubbed the
+finger ends in the crayon sauce, go over the entire surface of the
+enlargement, holding them flat, and you will produce a fine stipple
+effect.
+
+If the shadows need to be darker, use a little more crayon on the
+fingers; also put the cast shadow in the background, applying the
+crayon with the fingers.
+
+Before proceeding further it will be well to note that the crayon is
+entirely on the gelatin surface, and that the photographic image is on
+this surface also, and not on the paper itself; therefore, under the
+image and the gelatin you have the pure white paper. I call attention
+to this in order that you may work with a better comprehension of the
+materials you are using.
+
+You now have four surfaces. First, the muslin cloth of the strainer;
+second, the starch; third, the white paper; fourth, the gelatin.
+
+Knowing that the gelatin has a hard surface, you are prepared to learn
+that the crayon will come off from the bromide much more easily than
+from the other kinds of paper. These had but three surfaces, while the
+bromide has a fourth--a very hard one--between the crayon and the
+paper, and on account of its hardness it will need different treatment
+in its manipulation. Therefore you use the fingers in applying the
+crayon sauce, and, when it is necessary to make a place light, you do
+so with the cotton, chamois or eraser. Should you find it necessary to
+make a place white where it is dark, you can remove the photograph
+entirely, as this is on the gelatin, scraping it off down to the white
+paper with a sharp knife.
+
+Resuming the process of finishing, place the enlargement on the easel
+and put in the cloud effect with the large eraser, then lay it on the
+table again, and clean it off about four inches from the edge all
+around with pumice stone and a fresh piece of cotton where you have
+rubbed with the eraser, and blend the background into this four inch
+space. Return the enlargement to the easel again, and with the broad
+eraser clean up the lights throughout, and with the cotton and pumice
+stone blend them into the shadows; then with the peerless stump, crayon
+sauce and fingers strengthen the larger shadows, using the nigrivorine
+eraser when necessary to clean up the lights, and the tortillon stump
+for the work in the smaller shadows, if it is required to make them
+darker. Now with the No. 0 crayon finish the face by completing the
+stipple effect in the patches of light and shade. You will have a good
+guide in the background for finishing and giving the stipple effect, as
+there you will have this stipple effect quite perfect, especially in
+the light places. This finishing with the No. 0 crayon is the nicest
+part of the work, and when doing it you must keep in mind that you are
+putting in the stipple effect, and that alone; that is, the portrait at
+this stage is supposed to be very nearly right in light and shade and
+expression, and it should not be necessary to strengthen it in the
+shadows by using the No. 0 crayon. You are to cut up or divide the
+portrait into small black and white spots, but do not take out white
+spots with the No. 0 crayon that are larger than the white spots
+desired in the stipple effect; these light places must be cut into
+smaller light spots. If you should take out these white spots (and this
+is an error you must be very careful to avoid), you would produce an
+effect of large dark and white spots that would be entirely wrong, the
+real process being to divide large white and dark spots into smaller
+ones of the same color.
+
+This stipple effect should be worked all over the face with the
+exception of the highest lights, and even these will very often need to
+be worked over except at the single points of the very highest lights.
+In this work you now have an opportunity to demonstrate the theory of
+contrast. Sometimes the enlargement is too dark in the shadows, and
+although you require to have them lighter you have already removed all
+the crayon from the surface, and it still remains too dark. The crayon
+pencil is many shades darker and blacker than the shadows, yet you can
+by its use make them lighter by putting in the stipple effect, as the
+dark touches of the pencil in their contrast with the shadow color
+under them cause them to appear lighter. This is a very essential
+principle to remember in crayon portrait work: that the effect of dark
+against light is to make the light appear lighter, and the dark darker.
+After the face and hair are completed as above, then finish the
+clothes with the peerless stump, eraser and fingers. If there are any
+very dark strong shadows--for instance, under the collar or around the
+neck--put them in with the velours crayon and subdue them with the
+fingers. When at work on the clothes at the bottom of the portrait do
+not finish straight across, but in a circular way. Next taking up the
+background you will discover that there are some large patches of light
+and shade that must be changed and made the required color to
+correspond with the adjoining surface; lean back as far as possible in
+your chair, and join these places together with the pencil and eraser;
+then in the same position finish the face by removing any light or dark
+places, strengthening the eyes, nose, mouth, and any point of the
+likeness requiring a final touch. Remove with the point of your knife
+any small black spots such as sometimes show in the photograph, and
+then with a fresh piece of cotton and pumice stone clean off the edges
+of the crayon all around.
+
+Before regarding the picture as quite complete, examine it by holding
+it at right angles to the light, to see if there are not some marks of
+the crayon pencil that show too prominently. These can be subdued with
+the ends of the fingers. Sometimes in finishing with the No. 0 crayon
+the paper will seem to be gritty so that you can hardly work on it.
+The difficulty is that some of the pumice stone has adhered to the
+surface of the paper. This can be disposed of by rubbing it with the
+fingers. It should be remembered that the pumice stone must be entirely
+removed from the whole surface of the paper, as otherwise it will
+settle in the crayon, and give a dirty gray effect. When, as sometimes
+happens in commencing the portrait, dark or white spots or streaks show
+themselves, do not pay any attention to them until you have entirely
+finished the crayon, then if they are dark, make them the proper shade
+with the eraser, and if light, with the crayon.
+
+
+
+
+MONOCHROMES.[B]
+
+
+These are portraits in one color on porcelain, glass or any hard
+material that has first been coated with gelatin and then photographed
+on. First treat the whole surface with pumice stone as directed for the
+bromide paper, afterwards go over it with the crayon and cotton. Then
+put in the cloud effect in the background, and clean off the lights in
+the face, hair, and clothes with the eraser; next put in the
+half-shadows with the peerless stump; then with a solution of India ink
+darken the stronger shadows throughout the portrait--in the eyes, nose,
+mouth and eyebrows, and finally in the hair. Finish the face with the
+No. 0 crayon and the 4 H. Faber's lead pencil according to directions
+given for finishing bromide enlargements. The Faber pencil is used
+almost exclusively throughout the face. Very nice effects of strong
+light can be made on porcelain by scraping through the gelatin surface
+with the knife. This process is specially adapted to making pictures of
+smaller size, say 10×12, or 11×14 inches, as it produces a very soft
+and delicate effect.
+
+FOOTNOTES:
+
+[Footnote B: For photographic process, see the American Annual of
+Photography and Photographic Times Almanac, 1888.]
+
+
+
+
+VALUES.
+
+
+The matter of values enters into the essential quality of every work of
+art, and especially of a portrait. It is the truth of their rendering
+that will give a faithful likeness. By the term values is meant the
+relations of light and shade to each other. This subject has been so
+admirably treated by John Burnet in his essay entitled "Practical Hints
+on Light and Shade,"[C] that I give his observations on this point.
+
+"Before proceeding to investigate light and shade in their various
+intricate relations, it may be proper to notice a few of the more
+palpable and self-evident combinations; and for the better
+comprehending of which I shall divide them into five parts, viz.:
+Light, half-light, middle tint, half-dark and dark. When a picture is
+chiefly composed of light and half-light, the darks will have more
+force and point, but without the help of strong color to give it
+solidity it will be apt to look feeble, and when a picture is composed
+mainly of dark and half-dark the lights will be more brilliant; but
+they will be apt to look spotty for want of half-light to spread and
+connect them, and the piece be in danger of becoming black and heavy.
+And when a picture is composed chiefly of middle tint, the dark and
+light portions have a more equal chance of coming into notice, but the
+general effect is in danger of becoming common and insipid. Light and
+shade are capable of producing many results, but the three principal
+are relief, harmony and breadth. By the first the artist is enabled to
+give his work the distinctness and solidity of nature; the second is
+the result of a union and cement of one part with another; and the
+third, a general breadth, is the necessary attendant on extent and
+magnitude. A judicious management of these three properties is to be
+found in the best pictures of the Italian, Venetian and Flemish
+Schools, and ought to employ the most attentive examination of the
+student, for by giving too much relief he will produce a dry hard
+effect, by too much softness and blending of the parts, wooliness and
+insipidity, and in a desire to produce breadth of effect he may produce
+flatness."
+
+The student should make a careful study of the values, as upon these
+will depend the entire effect of the portrait and its fidelity as a
+likeness; and the absence of these qualities of rendering light and
+shade are one of the marked features of the work of amateurs, as they
+are apt to make their shadows too dark and their lights too light. You
+should compare the portrait with the photograph you are working from,
+and preserve the same contrasts between the lights and shadows in order
+to produce satisfactory results. The best way of examining your work is
+by the use of a mirror. To the student the mirror is his best critic.
+It is before this silent observer that he submits his work with the
+certainty of receiving an honest criticism. At every step of your
+progress look at your work in a good mirror, as here it is changed
+about, the left side being the right side, and no error will escape
+detection. Sometimes you will see that what appeared true was in
+reality false, what seemed graceful in contour was distorted; here an
+eye which you thought was looking at you quite straight now mocks you
+from the glass in manifest obliquity; the mouth, which you thought had
+a pleasant expression, now looks as disdainful as can be. And so all
+through your work you will be startled; you will doubt the mirror.
+Doubt it not; your work is false. If you will be convinced show it to
+some competent artist, and he will confirm the judgment of the
+impartial mirror. Experience will soon teach you to put such reliance
+on its never capricious council that you will follow its suggestions
+implicitly, and, when your work is altered, the result will satisfy you
+invariably, that, as the proverb says of two heads, so two images are
+better than one. When you have come to this conclusion there is not a
+beauty of eighteen who will consult her glass (though it is true for a
+somewhat lighter purpose,) more eagerly, more devoutly, more
+frequently, or finally, we hope, with more triumphant satisfaction than
+will you.
+
+FOOTNOTES:
+
+[Footnote C: Essays on Art by John Burnet, New York, Edward L. Wilson.]
+
+
+
+
+STUDIO.
+
+
+The amateur is not to consider the selection of his studio or work-room
+of minor importance; the perspective, coloring, and the effect of the
+portrait will all depend, in a great measure, upon the situation and
+dimensions of the studio. It may be said in a general way that the
+larger the apartment the better. To secure the effect which it is
+essential to produce, there should be space enough left behind the
+artist to permit him to step back from six to ten or twelve feet to
+accurately view and see the effect of the portrait. I cannot urge too
+strongly upon the amateur the usefulness of frequently viewing his work
+from a distance. I would gladly save him the disappointment and chagrin
+which I have myself experienced, when having neglected this precaution,
+I have quite finished a portrait only to find it thoroughly
+unsatisfactory when looked at from a greater distance than that at
+which I had worked.
+
+You should choose a room with a north light if possible; if that is not
+available then one with a south light, and the room should be as near
+the top of the house as possible. Let the light be arranged so as to
+strike the easel at an angle of 90 degrees, and if it is a side light
+darken the lower half of the window. Do not have the side walls white,
+they should be a neutral shade; reddish is the best. For work with
+water colors or India ink you need a stand, and be sure and set it so
+that the light will be at your left when you work. Keep the studio as
+free from dust as possible, and when you have finished working for the
+day wash your brushes and place the corks in the water color bottles,
+so as to exclude the dust from them. For crayon work also set the easel
+so that the light is at the left hand.
+
+A word in regard to selecting materials. I have already spoken in
+regard to the selection of photographs for coloring. As to
+brushes--camel's hair will cost only about a third as much as sable,
+and will answer every purpose for beginners; the fine sable should be
+procured after the pupil has advanced sufficiently. In choosing a brush
+for water colors, dip it in a cup of water and draw it over the edge of
+the cup; if it has a little spring to it, and comes to a point readily
+without any of the hair straggling, it is all right; if not, reject it.
+Winsor and Newton's Chinese White is the best white paint. For mixing
+the colors you can get a slant with eight divisions, or a nest of
+saucers. In selecting glass for mounting pictures choose that which is
+free from blisters.
+
+
+
+
+FRAMING.
+
+
+The following directions in regard to framing will, I hope, be found
+advantageous. When framing with a passepartout mat, always use
+
+    For a 16×20 portrait an 18×22 frame,
+     "    18×22    "     "  20×24   "
+     "    20×24    "     "  22×26   "
+     "    24×29    "     "  25×30   "
+
+I make a life-size portrait 25×30 on a 24×29 strainer. The reason for
+using a larger frame than strainer is this: that it invariably happens
+that the head of the portrait will not come in exactly the proper place
+in the opening of the passepartout, and by having the frame two inches
+larger each way you will be able to bring the head wherever desired in
+this opening. When placing the picture in the frame, lay the latter
+face down on a table and put in the glass, which should have been
+perfectly cleaned; lay in the passepartout and fasten it with small
+brads. Then lay the crayon down on the table face up and turn the frame
+over on it, and after you have it in the proper place, draw the picture
+and frame partially over the edge of the table, and from underneath
+mark the back of the passepartout where the edges of the picture come;
+then turn the frame and picture over so that it shall be face down. Now
+cut eight strips of old tin-type metal one-quarter of an inch wide and
+three inches long, making holes at each end of them for the tacks, and
+with these strips fasten the picture in its place by tacking one end of
+each to the strainer and the other end to the frame. Also cut a piece
+of heavy manilla paper the size of the frame, lay it on a board, dampen
+it with a sponge, apply starch paste around each side and the ends for
+a space of six inches, and lay it over the back of the picture and
+frame, pressing it down on the latter; then set it away to dry. This
+will make a neat smooth back which will exclude moth and dust from the
+portrait.
+
+
+
+
+PASSEPARTOUT MOUNTING.
+
+
+The following method will be found useful, especially if you want to
+exhibit a crayon without the expense of framing it. Lay on the mounting
+board a piece of heavy manilla paper somewhat larger than the picture,
+then put the crayon on this face up, next the passepartout, and last
+the clean glass. Mark the size of this on the paper, and then, having
+removed the glass, crayon and passepartout, cut the paper enough larger
+than the marks to allow it to come up one inch all around over the
+edges of the glass; next dampen the paper, and apply the starch paste
+to its edges about six inches all around, then lay the crayon,
+passepartout and glass back where they were on the paper, and bring the
+latter up, lapping it over the face of the glass; cut the corners out
+so as to bring them over properly; rub the edges down thoroughly on the
+glass, and with a ruler and knife trim off the paper, allowing
+one-quarter of an inch margin; then set away to dry. This will put the
+crayon in good condition to be exhibited, and will thoroughly protect
+it.
+
+
+
+
+Transparent Liquid Water Colors for Coloring Photographs.
+
+[Illustration]
+
+
+
+
+TRANSPARENT LIQUID WATER COLORS FOR COLORING PHOTOGRAPHS
+
+
+_Materials Required in Their Use._
+
+    A good photograph, an engraving or photogravure mounted on
+      card-board
+    Camel's hair brushes, Nos. 3 and 5,
+    Sheet of blotting-paper,
+    Small sponge,
+    Clean white cloth,
+    Cake of Chinese white, Winsor and Newton's water color,
+    A divided slant or nest of small dishes for holding the color when
+      mixed,
+    Box transparent liquid water colors,
+    Stick of India ink,
+    Box pulverized pumice stone,
+    Two tumblers for water.
+
+It has passed into a proverb that he is a bad workman who complains of
+his tools. It is certain that good ones simplify work and give better
+results. One of the most important things for successful art-work is to
+have at hand the proper materials and good instruments. In their
+selection do not follow a penny wise and pound foolish policy, but get
+the best you can; and these you will often find not too good.
+
+
+
+
+THEORY OF COLOR.
+
+
+The principles connected with coloring should be understood if one
+desires to produce the most pleasing and harmonious effects in
+painting. The three colors, red, yellow, and blue, with the white of
+the paper, are equal in theory to all the requirements of art in its
+true relation to color. Red, yellow and blue are called primary colors;
+that is, we cannot produce these colors from the combination of any
+others. Orange, purple and green are called secondary colors, and are
+produced by the combination of the primary colors. By the mixture of
+red and yellow we obtain orange, from red and blue, purple, from yellow
+and blue, green. The tertiary colors--broken green, gray and brown--are
+produced by the mixture of the secondary colors. From orange and purple
+we obtain brown, from orange and green, broken green, and from purple
+and green, gray. The three primary colors must always be present in a
+picture to produce harmony. Colors are divided into what are called
+warm and cold colors, the yellow and red being termed warm, and the
+blue cold. Yellow and red produce light and warmth, and it is
+impossible to produce coolness without the use of blue. In painting we
+use the three terms, light, shade and color, because they best express
+the qualities of color. Light is expressed by yellow, shade by blue,
+and color by red. While red is particularly designated as color, we
+must not forget the claims of yellow and blue, as they, together with
+red, complete the primary scale of colors. It is by placing these
+different colors in juxtaposition that we produce the proper qualities
+existing in each of the other colors. It is impossible to produce the
+effect of warmth by red and yellow unless we use the blue in connection
+with them. It is this filling up, or completing the primary scale of
+colors, that gives the term complementary, so often employed in
+speaking of colors. Thus red is said to be complementary to green, as
+green contains the other two colors of the primary scale--blue and
+yellow. Blue is complementary to orange, as orange contains red and
+yellow. Yellow is complementary to purple, as purple contains blue and
+red. The principle of using the complementary color is of the utmost
+importance in painting, or the use of color by any method, and it is on
+this principle that the harmony of color is based. When a painting is
+produced that has the colors red, yellow and blue properly balanced, a
+pleasing and harmonious effect is attained; but if these colors are not
+used in their proper relations, there is a discord, and the work is not
+satisfactory. These rules must be borne in mind by every student in
+coloring, whether he uses oil or water colors. One of the most common
+errors of amateurs is to overlook the red in landscape. Thus trees are
+too green, and the grass is insufferably green: the complementary
+color, red, has been left out.
+
+By the following experiment you may prove that when you see one color
+the eye is in a perfect condition to see its complementary color. On a
+piece of white paper, three inches wide and five inches long, draw with
+a lead pencil an oblong, half an inch from the top, one inch wide, and
+two and one-half inches long from right to left, and a similar oblong
+one-half an inch below the one already drawn. Then draw a six pointed
+star (or any other not too large figure you desire) in the centre of
+the upper oblong, and paint it with vermilion water color. Now look
+intently at the painted star for thirty seconds, and then look at the
+plain oblong below, and you will observe that the latter will gradually
+assume a very beautiful shade of green, the exact complementary color
+of the vermilion, with the figure in white upon it--unless you should
+happen to be color blind. If that is the case, the experiment will
+demonstrate that fact.
+
+
+
+
+COLORS.
+
+
+Transparent water colors are put up in boxes containing nine colors,
+and as you reduce them in the proportion of one part of color to eight
+of water, a single box will last a long time. They can be bought of
+almost any dealer in artist's materials, and are designated as
+Florentine, Egyptian, Grecian, and by other names. Care should be used
+in procuring those which are pure and fresh. The colors are yellow,
+blue, rose, violet, magenta, flesh, brown, gold and black. The labels
+on the bottles give directions for mixing.
+
+
+
+
+YELLOW.
+
+
+Yellow is one of the primary colors and one of the most useful, as it
+enters into the coloring of almost every picture. Transparent yellow is
+very brilliant, and can be used with any other color. Yellow and red
+make orange, yellow and blue make bright green, yellow and black a dull
+green. In landscapes, yellow is used in the middle distance with blue
+and rose and magenta. In the foreground it is used with blue and black
+for green, and is especially adapted for brilliant touches of foliage,
+grasses, and light places in the ground. In portraits a very little can
+be used in the reflected lights on the faces, and, when mixed with
+brown, for light shades of hair and eyebrows; for light dresses, used
+weak, it makes a very nice cream color. It can also be used very weak
+for laces, the strong lights being afterwards touched up with Chinese
+white, but not when the picture is to be mounted on glass. This color
+will ordinarily work nicely and give good results wherever its use
+seems appropriate, but care must always be exercised not to use it too
+strong.
+
+
+
+
+BLUE.
+
+
+This is another of the primary colors and a very essential one, it
+being the nearest allied to shade, and although not shade itself, no
+shadows can be produced without it. We will find it, therefore,
+mingling with all the shades of nature between the lights and shadows.
+It would be in vain for us to introduce all our warm colors, if the
+cool tints that are produced by blue are wanting; for, without that,
+the work will appear heavy, as it is the contrast between blue and the
+warm colors that produces a balance of color. Blue mixed with yellow
+makes a very brilliant green, with gold a duller green, with magenta a
+purple. In landscapes it is used in skies and the middle distances, but
+not in the foreground, unless mixed with yellow. Blue can be mixed with
+rose or magenta for sunset skies. When the horizon is represented a
+streak of blue or rose, or of blue and magenta, will give a very
+pleasing effect. In portraits if you have a light background, a thin
+wash of blue can be used over it. The same can also be used for blue
+eyes and for dresses when they are light in the picture, also in all
+the half-shadows of the dresses or draperies without regard to what
+their other color may be.
+
+
+
+
+ROSE.
+
+
+This is the nearest approach to red that we have in these colors, and
+as it fills out the scale it is an essential one. It is, in fact, a
+very delicate shade of rose. For landscape it is used only in the
+skies, and then only a little near the horizon for sunset effects. For
+portraits it is used in the drapery for making a very light shade of
+pink, and it can be used generally when you want to make a very
+delicate effect. The photographic print on which it is used should not
+be too dark.
+
+
+
+
+VIOLET.
+
+
+This is a very strong and brilliant color, and therefore needs more
+than usual care in handling. In landscapes it is only used in certain
+skies near the horizon, and but very seldom even then. It is more
+especially designed for portraits, and there particularly in drapery to
+make very decided effects of strong color; but it can only be used when
+the dress or draperies are dark in the photograph.
+
+
+
+
+MAGENTA.
+
+
+This also is a powerful color and must be used carefully. It is not
+adapted to landscapes, but in portraits is used for dresses and
+accessories. If the photograph requires a dark dress this color will
+make it a beautiful shade.
+
+
+
+
+FLESH.
+
+
+This color can be used a very little in the skies of landscapes when
+there is a sunset effect to be represented. In portraits it is used to
+color the faces and hands. After it is dry, retouch the cheeks and lips
+with the same color.
+
+
+
+
+BROWN.
+
+
+This color is used in all the shadows. In landscapes, in some
+instances, it serves for use in the middle distance and foreground; the
+light places should be retouched with yellow or gold. It is also used
+for tree trunks, fences, and the like. In portraits it serves to color
+the hair and eyes, and appears in the dark shadows of the drapery and
+furniture. If the background is dark, a nice effect is produced by
+tinting it a little with this color.
+
+
+
+
+BLACK.
+
+
+In transparent color this has more the effect of a dark gray than a
+brilliant black, such as is produced with body colors. When you want a
+very dark black, it is better to use a little India ink with it. It is
+used in the skies of landscapes when you wish a gray effect, or to
+subdue a too strong blue color or red, and in foregrounds for rocks. In
+connection with yellow it will make a sombre green for trees,
+mountains, etc. In portraits it is used for the hair and eyes, in the
+shadows around the mouth, and in drapery in connection with the other
+colors.
+
+
+
+
+GOLD.
+
+
+This is a combination of yellow and red, and in general can be used
+wherever either of these colors would answer. In landscapes a little
+can be used in the skies, the middle distances, and lights on the
+ground in the foreground. In portraits it is used to color the drapery
+and jewelry.
+
+
+
+
+INSTRUCTIONS FOR USING LIQUID WATER COLORS.
+
+
+Fill the two tumblers with water, and have all the other materials
+ready and convenient to work with. If you have selected a burnished and
+mounted photograph wet its surface with saliva; unburnished
+photographs, photogravures and engravings do not require this
+treatment, but in coloring them it will be necessary to mix a weak
+solution of gum arabic with the colors to prevent their penetrating the
+paper. If printed on too thin a paper the photogravure or engraving
+should be mounted. If it is found that the colors "crawl" or spread on
+the photograph, mix a little acetic acid with the colors you are using,
+and should this fail to remove the difficulty, rub a pinch of pumice
+stone over the photograph with the fingers.
+
+If the photograph is a portrait commence with the background, washing
+it all over with a brushful of diluted color, being careful not to get
+any on the face. If the background is light, use a weak solution of
+blue, if dark, a brown solution. The majority of backgrounds only need
+a very little tinting--just sufficient to change the color. For the
+face use flesh color, diluting it to the proper shade, washing it
+entirely over the face, and with a stronger solution of the same color
+tint the cheeks and lips, giving them a little brighter effect than the
+flesh color. Touch up the shadows in the face with the brown, and if
+there are any reflected lights use a very weak solution of the yellow
+color for them; then with some very weak black make the shadows around
+the mouth a little darker; next with a solution of blue, also very
+weak, strengthen the shadows in the forehead and around the temples;
+then color the eyes, using a small brush. If they are blue, use a weak
+solution of blue, if gray, use a little black, and if brown, then that
+color. Next color the hair; if brown, use brown mixed with a little
+black to take away the reddish color; if auburn, use brown and yellow,
+with a little gray between the lights and shadows. In working on the
+hair, move your brush in the direction of the lines of the hair; if
+wavy, then cause your brush to follow its lines. After you have thus
+gone over it, darken the shadows with a stronger solution of the same
+color. After the hair, paint the eyebrows and beard, if there is any,
+with the same color.
+
+
+
+
+DRAPERY.
+
+
+You must remember in using these liquid colors that they are
+transparent, and, therefore, whenever the print is light you cannot
+make it dark, unless you strengthen the shadows by applying opaque
+colors. For dresses, if they are light, use the delicate colors to suit
+your fancy, either the rose, blue, yellow, or gold; when they are dark,
+use the magenta or violet, being careful to spread the colors evenly.
+After you have once colored the dresses, then with a stronger solution
+of the same color darken the shadows; if you then touch up the
+half-shadows with blue the effect will be still finer. For neckties or
+ribbons use the complementary color to that of the dress. For laces use
+a weak solution of yellow, and after it is dry touch up the strong
+lights with Chinese white. If there is a curtain in the picture use the
+complementary color to the dress. For chairs use brown. If sky, trees
+and grass are to be painted, color them according to the directions
+given for landscapes under the different colors; only be sure to modify
+them, and keep them low in tone and color.
+
+In laying on flat washes of color, the brush must be held nearly
+upright and should be passed boldly over the surface; the color should
+then gradually be brought down and spread equally over the whole
+surface as rapidly as possible, in order to avoid letting any part dry
+before the whole has been covered; then whatever surplus there may be
+should be carefully sponged off. When you apply the wash of color to
+the picture the latter should not be held flat, but at a slight angle,
+so that the color will settle down towards the bottom of the picture.
+
+These colors are more suitable for figures and landscapes combined than
+they are for landscapes alone, yet very pretty effects in landscapes
+can be produced with them. If any white spots should be found in the
+photograph, as very often happens, after the picture is quite complete,
+touch them out with India ink, using a small brush.
+
+
+
+
+LANDSCAPE.
+
+
+If the sky is to be blue, wash it all over with a weak solution of
+blue; if there are white clouds, you can touch up the highest lights
+with Chinese white; if there is a sunset or rosy effect, use a weak
+solution of rose or a little magenta. But it is best not to try to make
+too much of the sky, as the gray that is generally in it will give a
+very pretty effect and leave more contrast between the figures and the
+sky. For the middle distance mix blue, rose, and a little yellow or
+gold if you want it greenish, or you can use a very little brown. The
+nearer the trees come in the foreground the stronger in color they
+should be; that is, they should tend more to the green and brown and
+less to the bluish color. If they are to be bright green use blue and
+yellow, and retouch the light places with yellow. You can make the
+green duller by mixing a little black with the yellow, or you can make
+a richer green by using blue, gold and brown, and then touching up the
+lights with gold, and the shadows with brown. For the grass use blue
+and yellow, and retouch the lights with yellow; for the ground use
+brown, and retouch the lights with gold; for tree trunks, fences, and
+the like, use brown; for rocks, use black and a little brown.
+
+
+
+
+THE PRINCIPLE.
+
+
+The study of painting as an art is based on three considerations, form,
+light and shade, and color. I will now treat of color--the form, and
+light and shade being furnished for us in the photograph. Photography
+as a means of art education in its influence on the public is salutary.
+In spite of all its falsity it is the best teacher of the first
+elements of criticism and knowledge of the facts of form and light and
+shade. Photography does not produce color, so that we will add the one
+link to the chain that is wanting. As we are dealing with pictures
+finished in light and shade, it is well that we should have rules to
+aid in choosing good ones to work on.
+
+In selecting a photograph to color we want as perfect a print as it is
+possible to procure. A light one is preferable. Notice in particular if
+it is well defined, that the shadows and middle shades are clear, the
+lights pure, and that it is free from defects and spots. Many think
+that they can take a poor photograph, and, by coloring it, cover up the
+defects, but they are wrong in this, for the transparent colors will
+not conceal defects. The best rule is that the better the photograph
+the better will be the picture when finished. The Soule Photograph
+Company, No. 338 Washington Street, Boston, Mass., furnish photographic
+reproductions, mounted and unmounted, of all the best paintings in the
+world, in both public and private art galleries, and their photographs
+are the best to color. Therefore, to begin with, have a perfect picture
+to color. Scholars in commencing to use the brush will not be able to
+produce bold effects of color, and will only acquire that power by use
+and practice. By bold effects I do not mean that one part is to be more
+prominently rendered than any other portion of the work, but merely the
+brilliancy of coloring which distinguishes professional from amateur
+work. In any kind of painting it must be borne in mind, that there are
+no decided lines forming the edges of any object. The point insisted on
+is that the boundaries of objects must be of that color that will
+harmonize and subdue the picture, producing a soft, delicate effect.
+
+I would advise all who begin to paint to commence with water colors, as
+they are the easiest to manipulate, the liquid water colors being
+easier than the body colors, and their use the simplest of all kinds of
+painting. The photograph being a fac-simile of a subject as it appears
+to the eye in form and light and shade, furnishes a picture perfect
+except in color, while the liquids supply the color in the form best
+adapted to teaching the first steps in its use. It is hoped, though,
+that after the student has thoroughly mastered this course of study, he
+will attempt something higher and more difficult in the study of art.
+
+
+
+
+French Crystals.
+
+[Illustration]
+
+
+
+
+FRENCH CRYSTALS.
+
+
+These are photographs colored with liquid water colors and mounted on
+glass. For several years a process has been taught by which a
+photograph is rendered transparent by the use of paraffine oil, etc.,
+then mounted on glass, and colored from the back with oil paints. While
+by this method a picture pleasing at the time could be produced, yet
+unless the process was perfectly executed the oils would decompose and
+the picture become yellow and spotted. The use of water colors entirely
+overcomes these objections, as it is so simple that any one can employ
+them perfectly, and as there are no oils used in their production they
+cannot change or turn yellow.
+
+
+
+
+MATERIALS.
+
+
+    Convex glasses on which to mount photographs,
+    Bottle of Florentine, Egyptian, Grecian or other compound for
+      mounting on glass,
+    Best French picture glass,
+    Some gummed paper,
+    A dish in which to soak photographs,
+    Some dark, thin, fancy paper,
+    Sheet of blotting paper.
+
+
+
+
+THE METHOD.
+
+
+Having secured a good photograph, rub a little pumice stone over it
+with the finger, and then, if it is mounted, remove it from the card by
+placing it in warm water and allowing it to soak for an hour or two, or
+over night if necessary. After it is thus freed from the card lay it
+face down on a piece of glass, and sponge off all the starch from the
+back. Cut a piece of blotting paper the size of the picture and lay it
+on a glass, wetting it with water applied with a sponge; then lay the
+photograph, still wet, on the blotting paper, and, with a sponge,
+remove all the surplus water from its surface. Now proceed to color it
+according to the directions given in the preceding pages for coloring
+photographs with transparent liquid water colors. In case you should
+put on too much color, let the photograph soak a few moments in warm
+water, when the surplus color will gradually come out, and you may then
+recolor it. After it has been finished to your satisfaction, proceed to
+mount it according to the directions next given.
+
+
+
+
+MOUNTING FRENCH CRYSTALS.
+
+
+The glass for mounting, whether flat or convex, should be the same size
+as the picture. It should be dipped in water and permitted to drain
+off, but do not dry it; pour a little of the compound on the side
+against which the photograph is to be placed--the hollow side, if the
+glass is convex--let it drain off and lay the picture face down upon
+it. With the thumb and finger commence at the centre of the photograph,
+smoothing it down close to the glass, forcing all the air bubbles out
+to the edges, thus continuing until the picture is entirely smoothed
+out, and at every point in actual contact with the glass. During this
+process hold the glass at an angle, so that you can see if there are
+any air bubbles or glistening places in it by examining its face
+occasionally; and always let a little of the compound get on the back
+of the photograph, as it allows the fingers to glide over it more
+easily and lessens the chance of tearing it. Now take a second glass
+the same size as the first, and having thoroughly cleaned it, fasten it
+to the back of the other by small strips of gummed paper. Then place a
+piece of card-board of the same size on the back of the two glasses and
+fasten the three together also with small strips of gummed paper;
+finally securing the whole firmly together by binding it with some
+large strips, and your picture is ready to frame. In case you do not
+care to frame it, cut out a piece of some dark fancy paper, a quarter
+of an inch on each edge larger than the picture, and fasten it, dark
+side out, on the back, allowing the quarter of an inch to lap over and
+be pasted on the face, after which straighten the edges with a ruler
+and sharp knife.
+
+
+
+
+FINISHING PHOTOGRAPHS IN INDIA INK.
+
+
+The principles that have been given in regard to finishing photographs
+with lines, apply also to finishing with India ink--with the exception
+that in the manipulation of the ink it must be remembered that it
+cannot be taken out; therefore, you must commence to finish the
+photograph gradually, and produce the proper strength by repeatedly
+working over it. The old method of making India ink portraits was to
+have a print on "plain" paper--a kind without albumen on its surface.
+The great disadvantage of "plain" paper is that the lights and shadows
+on it are not strong, and therefore it takes too much work to finish
+the picture.
+
+The following method (which is very simple and can be used in work on
+albumen paper, provided you have treated it by rubbing pumice stone
+over its surface with your fingers), adapts it to India ink. Of course
+the pumice stone treatment destroys the albumen on the surface, causing
+it to have a dull appearance, but after the picture has been finished
+its lustre can be restored by the use of a not too warm burnisher.
+
+In finishing the photograph commence on the hair by washing it all
+over (with the exception of the highest light) with a weak solution of
+the ink, using the brush in the same direction that the hair goes;
+after this has dried, indicate the half-shadow with a little stronger
+wash, and after drying it again put in the deeper shadows, then the
+eyebrows, eyes and beard, if the subject has one.
+
+Faces are finished in India ink on the line principle,[D] which shows
+the grain of the flesh. Commence on the forehead with a very weak
+solution, and then continue it all over the face, repeatedly working
+and cross hatching with lines until the face is dark enough; then
+strengthen the shadows under the eyes, nose, mouth and chin. After the
+face is completed put in the clothes. This you do by washing them over
+with two or three solutions of the ink, and then producing the line
+effect as in work on crayon portraits, explained on page 76, the
+difference in the nature of the material used being always borne in
+mind. After the picture is otherwise completed, you can brighten up the
+eyes and some of the strongest shadows with a solution of gum arabic
+and water.
+
+FOOTNOTES:
+
+[Footnote D: See pages 57 and 72.]
+
+
+
+
+CONCLUSION.
+
+
+While it is thought that all essential instructions on the topics
+treated of have been given in the foregoing pages, and that if
+faithfully followed they will lead the pupil to attain satisfactory
+results, it is hoped that my readers who have accompanied me thus far
+will not be content to continue to use a photograph as the basis of
+their work, but will advance to the pursuit of art in a broader and
+more scientific manner. As a step in this direction the study of form,
+and light and shade, by drawing from the cast should be taken up; and
+to this work the directions as to light and shade given in the
+foregoing pages fully apply, that requiring the object to be placed in
+such a position that the light will strike it at an angle of ninety
+degrees being always borne in mind.
+
+The student will do well to gain all he can from the published works of
+the leaders in the profession, whose writings, both theoretical and
+practical, are invaluable. Three essays by John Burnet I can very
+heartily recommend. They are "Practical Hints on Light and Shade,"
+"Practical Hints on Composition," and "The Education of the Eye." These
+are published in a single volume, which is illustrated with examples
+from the great masters of the Italian, Flemish and Dutch schools, and
+should be in the hands of every amateur. They will all repay perusal
+and study until their principles are mastered. An English edition of
+these books is published by James Carpenter, London, and in this
+country they have been reproduced by Edward L. Wilson, editor of the
+_Philadelphia Photographer_. Another book which abounds in valuable and
+practical information for the amateur and can be highly commended, is
+"Art Recreations, a Guide to Decorative Art," by Marion Kemble,
+published by S. W. Tilton & Co., Boston; also J. Bacon's "Theory of
+Coloring," issued by Geo. Rowney & Co., England.
+
+Those who are disposed to treat disdainfully the work of finishing
+photographs in crayon and color as not demanding truly artistic
+qualities, should not forget that success here has still a real value
+in awakening in many who undertake it a feeling for art of a higher
+kind, and in developing a natural talent which otherwise might have
+been undiscovered. Many an artist now looks back with pleasure and
+gratitude to this sort of work, in which he received the first impetus
+toward higher effort.
+
+In answer to the assertion which is sometimes made that transparent
+water colors are not permanent, I claim that in the sense in which the
+word is ordinarily used in connection with photography they may
+properly be called so. In this sense the lasting qualities which
+characterize the materials used by the old masters are not looked for,
+but where photographs have been thus colored, finished in the form of
+French crystals, and properly sealed from the atmosphere, they are
+practically permanent. I have some in my possession that were made
+years ago, and they are as bright and fresh to-day as when first
+colored. It can be truly said that photographs colored in this way make
+very beautiful and pleasing pictures, obtainable with but little work
+and expense, and having practical permanency of color.
+
+As a final word to those who intend to follow art as a profession, I
+urge the earnest study and mastery of drawing at the outset as the
+foundation of all art; then take up work in body water colors, and when
+the theory of coloring is fully understood, do not neglect the careful
+reading of books of acknowledged merit bearing on your work. The more
+notes you take in the course of your reading the more fully you will
+assimilate the author's thought, while, at the same time, you furnish
+the easiest means of rapid review. After all, your soundest basis for
+work will be your deep and continuing love for it, and your willingness
+to labor long and conscientiously to attain excellence. Do not imagine
+that the profession of an artist is that of an idler. On the contrary,
+of all occupations it is perhaps the most active, for one is constantly
+engaged, if not with art itself, at least with its materials.
+
+Every artist will confess that were it not for the charm with which it
+rewards the votaries who follow it from love, the pursuit would be a
+painful one, such vigilant precaution does it require, such constant
+foresight, such calculation and preparation against possible difficulty
+on every hand; but the true artist, happy in the daily gain of
+knowledge which his experience brings him, and delighted with the
+gradual mastery of his work, as a rule lives along enjoyably, retaining
+more than most men the freshness of youth while he gains in power as he
+advances in years. So pleasant a fate as this for each of his readers
+is the closing wish of the author.
+
+
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+Moved some illustrations to avoid breaking up paragraphs of text. The
+page references in the List of Illustrations refer to the original
+book.
+
+Corrected minor punctuation errors and hyphenation inconsistencies, and
+made the following changes:
+
+Page 50: Changed necesssary to necessary:
+  (all the details necesssary).
+
+Page 67: Changed Appelton to Appleton:
+  (From the Annual Encyclopedia. Copyrighted, 1891, by D. Appelton).
+
+Page 74: Changed where-ever to wherever:
+  (using the latter where-ever a lighter effect is required).
+
+Page 90: Changed picrure to picture:
+  (And when a picrure is composed chiefly of middle tint).
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
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+      The Project Gutenberg eBook of Crayon Portraiture, by J. A. Barhydt.
+    </title>
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 30248 ***</div>
+
+<hr style="width: 65%;" />
+<h1 class="sans">Crayon Portraiture.</h1>
+<hr style="width: 65%;" />
+<p class="figcenter" style="width: 478px;">
+<a name="frontispiece" id="frontispiece"></a>
+<img src="images/image001.jpg" width="478" height="600" alt="FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER&mdash;STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT." title="FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER&mdash;STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT." />
+<span class="caption">FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER&mdash;STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT.</span>
+</p>
+<hr style="width: 65%;" />
+
+
+
+<h1>CRAYON PORTRAITURE</h1>
+
+<p class="title"><span class="smcap">Complete Instructions for Making Crayon<br />
+Portraits on Crayon Paper and on<br />
+Platinum, Silver and Bromide<br />
+Enlargements</span><br />
+<br />
+<small>ALSO DIRECTIONS FOR THE USE OF</small><br />
+<big>TRANSPARENT LIQUID WATER COLORS</big><br />
+<small>AND FOR MAKING</small><br />
+<big>FRENCH CRYSTALS</big><br />
+<br />
+<br />
+<small>BY</small><br />
+
+<big>J. A. BARHYDT</big><br />
+<br />
+<small><span class="smcap">Author of Article on Crayon Portraiture in</span><br />
+<i>Appleton's Annual Cyclopedia, 1890</i>.</small><br />
+<br />
+<br />
+Illustrated<br />
+<br />
+<small><i>Revised and Enlarged Edition</i></small><br />
+<br /><br />
+NEW YORK<br />
+THE BAKER &amp; TAYLOR CO.<br />
+<small><span class="smcap">33-37 E. 17th Street, Union Square North</span></small><br />
+</p>
+<hr style="width: 65%;" />
+
+<p class="center"><small><span class="smcap">Copyright, 1886 and 1892</span></small><br />
+
+<small><span class="smcap">By J. A. BARHYDT</span></small><br /><br /><br /></p>
+
+
+<p class="center"><small>ROBERT DRUMMOND, PRINTER, NEW YORK</small></p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+
+<p>In issuing this second treatise on Crayon Portraiture,
+Liquid Water Colors and French Crystals, for the use of
+photographers and amateur artists, I do so with the hope
+and assurance that all the requirements in the way of instruction
+for making crayon portraits on photographic enlargements
+and for finishing photographs in color will be
+fully met. To these I have added complete instructions
+for free-hand crayons.</p>
+
+<p>This book embodies the results of a studio experience of
+twenty-four years spent in practical work, in teaching, and
+in overcoming the everyday difficulties encountered, not
+alone in my own work, but in that of my pupils as well.
+Hence the book has been prepared with special reference to
+the needs of the student. It presents a brief course of precepts,
+and requires on the part of the pupil only perseverance
+in order that he may achieve excellence. The mechanical
+principles are few, and have been laid down in a
+few words; and, as nearly all students have felt, in the
+earlier period of their art work, the necessity of some general
+rules to guide them in the composition and arrangement<span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span>
+of color, I have given, without entering into any
+profound discussion of the subject, a few of its practical
+precepts, which, it is hoped, will prove helpful.</p>
+
+<p>While this book does not treat of art in a very broad
+way, yet I am convinced that those who follow its teachings
+will, through the work they accomplish, be soon led to a
+higher appreciation of art. Although this kind of work
+does not <i>create</i>, yet who will say that it will not have accomplished
+much if it shall prove to be the first step that
+shall lead some student to devote his or her life to the
+sacred calling of art?</p>
+
+<p>It has been said that artists rarely, if ever, write on art,
+because they have the impression that the public is too ill-informed
+to understand them&mdash;that is, to understand their
+ordinarily somewhat technical method of expression. If,
+therefore, in the following pages I may sometimes seem to
+take more space and time for an explanation than appears
+necessary, I hope the student will overlook it, as I seek to
+be thoroughly understood.</p>
+
+<p>My hope with reference to this work is that it may
+prove of actual value to the earnest student in helping him
+reach the excellence which is the common aim of all true
+artists.</p>
+
+<p class="author">J. A. Barhydt.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2>
+
+<ul>
+<li>&nbsp;<span class="tocright">PAGE.</span></li>
+
+<li>Preface      <span class="tocright"><a href="#Page_ix">ix</a></span></li>
+
+<li>Crayon Portraiture      <span class="tocright"><a href="#Page_15">15</a></span></li>
+
+<li>Photographic Enlargements      <span class="tocright"><a href="#Page_19">19</a></span></li>
+
+<li>Crayon Materials      <span class="tocright"><a href="#Page_22">22</a></span></li>
+
+<li>The Specific Use of Crayon Materials      <span class="tocright"><a href="#Page_25">25</a></span></li>
+
+<li>The Strainer      <span class="tocright"><a href="#Page_30">30</a></span></li>
+
+<li>Mounting Crayon Paper and Platinum and Silver Enlargements      <span class="tocright"><a href="#Page_32">32</a></span></li>
+
+<li>Mounting Bromide Enlargements      <span class="tocright"><a href="#Page_37">37</a></span></li>
+
+<li>Outlines&mdash;Negative Outline      <span class="tocright"><a href="#Page_39">39</a></span></li>
+
+<li>Magic Lantern Outline      <span class="tocright"><a href="#Page_42">42</a></span></li>
+
+<li>Transfer Outline      <span class="tocright"><a href="#Page_46">46</a></span></li>
+
+<li>The Metroscope      <span class="tocright"><a href="#Page_47">47</a></span></li>
+
+<li>The Pantograph      <span class="tocright"><a href="#Page_49">49</a></span></li>
+
+<li>Crayon Effects&mdash;The Four Methods of making Backgrounds      <span class="tocright"><a href="#Page_51">51</a></span></li>
+
+<li>Free-hand Crayons and those made from Photographic Enlargements      <span class="tocright"><a href="#Page_53">53</a></span></li>
+
+<li>Filling in the Free-hand Crayon      <span class="tocright"><a href="#Page_55">55</a></span></li>
+
+<li>Line Effect      <span class="tocright"><a href="#Page_57">57</a></span></li>
+
+<li>Stipple Effect      <span class="tocright"><a href="#Page_59">59</a></span></li>
+
+<li>Backgrounds&mdash;General Principles      <span class="tocright"><a href="#Page_62">62</a></span></li>
+
+<li>First Method of making the Background&mdash;Stump Effect      <span class="tocright"><a href="#Page_65">65</a></span></li>
+
+<li>Second Method of making the Background      <span class="tocright"><a href="#Page_66">66</a></span></li>
+
+<li>Third Method of making the Background&mdash;Line Effect      <span class="tocright"><a href="#Page_67">67</a></span></li>
+
+<li>Fourth Method of making the Background&mdash;Stipple Effect      <span class="tocright"><a href="#Page_70">70</a></span></li>
+
+<li>Face&mdash;Line Effect      <span class="tocright"><a href="#Page_72">72</a></span></li>
+
+<li>Dress&mdash;Line Effect      <span class="tocright"><a href="#Page_76">76</a></span></li>
+
+<li>Bromide Crayons      <span class="tocright"><a href="#Page_78">78</a></span></li>
+
+<li>Finishing Bromide Enlargements      <span class="tocright"><a href="#Page_82">82</a></span></li>
+
+<li>Monochromes      <span class="tocright"><a href="#Page_88">88</a></span></li>
+
+<li>Values      <span class="tocright"><a href="#Page_89">89</a></span></li>
+
+<li>The Studio      <span class="tocright"><a href="#Page_93">93</a></span></li>
+
+<li>Framing      <span class="tocright"><a href="#Page_95">95</a></span></li>
+
+<li>Passepartout Mounting      <span class="tocright"><a href="#Page_97">97</a></span></li>
+
+
+<li>TRANSPARENT LIQUID WATER COLORS FOR COLORING<br />
+PHOTOGRAPHS.&mdash;MATERIALS REQUIRED IN THEIR USE      <span class="tocright"><a href="#Page_101">101</a></span></li>
+
+<li>Theory of Color      <span class="tocright"><a href="#Page_103">103</a></span></li>
+
+<li>Colors      <span class="tocright"><a href="#Page_106">106</a></span></li>
+
+<li>Yellow      <span class="tocright"><a href="#YELLOW">106</a></span></li>
+
+<li>Blue      <span class="tocright"><a href="#BLUE">107</a></span></li>
+
+<li>Rose      <span class="tocright"><a href="#ROSE">108</a></span></li>
+
+<li>Violet      <span class="tocright"><a href="#VIOLET">109</a></span></li>
+
+<li>Magenta      <span class="tocright"><a href="#MAGENTA">109</a></span></li>
+
+<li>Flesh      <span class="tocright"><a href="#FLESH">110</a></span></li>
+
+<li>Brown      <span class="tocright"><a href="#BROWN">110</a></span></li>
+
+<li>Black      <span class="tocright"><a href="#BLACK">111</a></span></li>
+
+<li>Gold      <span class="tocright"><a href="#GOLD">111</a></span></li>
+
+<li>Instructions for using Liquid Water Colors      <span class="tocright"><a href="#Page_112">112</a></span></li>
+
+<li>Drapery      <span class="tocright"><a href="#Page_114">114</a></span></li>
+
+<li>Landscape      <span class="tocright"><a href="#Page_116">116</a></span></li>
+
+<li>The Principle      <span class="tocright"><a href="#Page_117">117</a></span></li>
+
+<li>FRENCH CRYSTALS      <span class="tocright"><a href="#Page_123">123</a></span></li>
+
+<li>Materials      <span class="tocright"><a href="#Page_124">124</a></span></li>
+
+<li>The Method      <span class="tocright"><a href="#Page_125">125</a></span></li>
+
+<li>Mounting French Crystals      <span class="tocright"><a href="#Page_126">126</a></span></li>
+
+<li>Finishing Photographs in India Ink       <span class="tocright"><a href="#Page_128">128</a></span></li>
+
+<li>Conclusion      <span class="tocright"><a href="#Page_130">130</a></span></li>
+</ul>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS.</h2>
+
+
+<ul>
+<li>&nbsp;<span class="tocright">PAGE.</span></li>
+
+<li>Free-hand Crayon made on Steinbach Crayon Paper with a Magic Lantern Outline,<br />
+showing Stipple Effect in Face and Drapery and Broken Line Effect in Background      <span class="tocright"><i><a href="#frontispiece">Frontispiece</a></i></span></li>
+
+<li>Negative Outline&mdash;Dark Chamber      <span class="tocright"><a href="#negative_outline">40</a></span></li>
+
+<li>McAllister's Magic Lantern, No 653, with Wonder Camera Attachment      <span class="tocright"><a href="#mcallister">42</a></span></li>
+
+<li>Magic Lantern Outline      <span class="tocright"><a href="#magic_lantn_outln">43</a></span></li>
+
+<li>Lines to produce Stipple Effect      <span class="tocright"><a href="#lines_stipple">60</a></span></li>
+
+<li>Background&mdash;Line Effect      <span class="tocright"><a href="#bg_line_effect">67</a></span></li>
+
+<li>Line Effect for Face      <span class="tocright"><a href="#line_face">72</a></span></li>
+
+<li>Line Effect for Dress      <span class="tocright"><a href="#line_dress">76</a></span></li>
+
+<li>Crayon executed over Bromide Enlargement made from Original Negative,<br />
+showing Stipple Effect throughout      <span class="tocright"><a href="#bromide">80</a></span></li>
+</ul>
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+
+<p class="figcenter" style="width: 600px;">
+<img src="images/image015.png" width="600" height="217" alt="" title="" />
+</p>
+
+
+
+
+<h2><a name="CRAYON_PORTRAITURE" id="CRAYON_PORTRAITURE"></a>CRAYON PORTRAITURE.</h2>
+
+
+<p>To many who know nothing about the art of crayon
+portraiture, the mastery of it not only seems very difficult,
+but almost unattainable. In fact, any work of art of
+whatever description, which in its execution is beyond the
+knowledge or comprehension of the spectator, is to him
+a thing of almost supernatural character. Of course, this is
+more decided when the subject portrayed carries our
+thoughts beyond the realms of visible things.</p>
+
+<p>But the making of crayon portraits is not within the
+reach alone of the trained artist who follows it as a profession.
+I claim that any one who can learn to write can
+learn to draw, and that any one who can learn to draw can
+learn to make crayon portraits. Making them over a<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
+photograph, that is, an enlargement, is a comparatively
+simple matter, as it does not require as much knowledge of
+drawing as do free-hand crayons. But you must not suppose
+that, because the photographic enlargement gives you
+the drawing in line and an indistinct impression of the
+form in light and shade, you are not required to draw at
+all in making a crayon portrait over such an enlargement.
+Some knowledge of drawing is necessary, though not a
+perfect knowledge.</p>
+
+<p>Many people err in supposing that only the exceptionally
+skilled can produce the human features in life-like form
+upon the crayon paper. While recognizing great differences
+in natural aptitude for drawing in different persons,
+just as those who use the pen differ widely in their skill,
+some being able to write with almost mechanical perfection
+of form, I still hold that any one who is able to draw at
+all can succeed in producing creditable crayon portraits; and
+the lack of great skill as a draughtsman, should neither
+discourage a student nor debar him from undertaking to
+make crayon portraits (over enlargements, at least), either
+as an amateur or professional. To make a crayon from
+life undoubtably requires considerable talent and some education
+as an artist; but photography, in recent times, has
+made such advances from the old fashioned daguerreotype
+to the dry plate process and instantaneous exposure, and<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+such developments have recently been made in the field
+of enlargements and in photographic papers, that it is now
+possible for anyone, who will carefully follow the plain
+instructions given in the following pages, to make a good
+crayon portrait by the aid of the different kinds of enlargements.
+These place in his hands a perfect reproduction of
+what he wishes to make; and care and close attention to
+details will insure the rest.</p>
+
+<p>The student, however, must have courage. I tell my
+pupils not to be afraid to work freely; that if they spoil
+their work beyond their ability to redeem it, I can always
+fix it up and restore it for them; and that they should go
+ahead confidently. The reader may say that he has no
+teacher to help him out of his difficulty; but he must
+remember that he has the photographic enlargement as a
+sure guide, and that whenever he fears he is losing the outline,
+he can see at once what he is doing, by holding the
+enlargement against the light with its back towards him.
+My experience as a teacher has shown me that pupils, as a
+rule, are timid, especially that class which works mostly on
+enlargements, resulting from the fear of losing the outline
+and from lack of a thorough knowledge of drawing. I
+especially urge the necessity for boldness and freedom in
+execution. As an expert in chirography can read character
+in handwriting, so the artist's public will judge him<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>
+from his work. If he is, in fact, weak and timid, these
+traits will find expression in what he puts on paper. Let
+courage, then, be an important part of your equipment, if
+you would succeed in doing good crayon work.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span></p>
+<h2><a name="PHOTOGRAPHIC_ENLARGEMENTS" id="PHOTOGRAPHIC_ENLARGEMENTS"></a>PHOTOGRAPHIC ENLARGEMENTS.</h2>
+
+
+<p>There are three kinds of photographic enlargements used
+as a basis for crayon portraits, and, with a little experience,
+the student can determine for himself which kind will
+prove the most satisfactory.</p>
+
+<p>Free-hand crayons are made on Steinbach and other crayon
+papers, without any photograph as a basis. Silver enlargements
+are made on paper coated with a solution of chloride
+of silver, which the action of the light reduces to salts of
+silver. This is the oldest form of photography, and has
+been used since its introduction by Scheele in 1778.
+Silver enlargements are made by the aid of the sun (and
+are then called solar enlargements) or they can be made
+with the electric light.</p>
+
+<p>Platinum enlargements are a recent advance in photographic
+printing with iron salts, the process which has
+been worked out and patented by W. Willis, Jr., being a
+development of such printing. Its principle is that a
+solution of ferrous oxalate in neutral potassium oxalate
+is effective as a developer. A paper is coated with a solution
+of ferric oxalate and platinum salts and then exposed
+behind a negative. It is then floated in a hot solution<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
+of neutral potassium oxalate, when the image is
+formed.</p>
+
+<p>This process was first introduced by Mr. Willis in 1874,
+and he has since made improvements. He claims that the
+platinotype paper does not contain any animal sizing. The
+early experiments convinced him that the paper upon
+which the image was to be printed would prove an important
+factor, as all photographic paper contained animal
+sizing, which was found to be antagonistic to platinum
+salts. The action of platinum salts upon a paper containing
+animal sizing gave it a tint which no amount of acid
+washing could remove. For the past nine years Mr.
+Willis has had manufactured for his special use a Steinbach
+paper, free from the animal sizing, and he also uses a
+cold developer, thereby causing the paper to retain its
+original elasticity.</p>
+
+<p>The chief points of difference between bromide enlargements
+and silver or platinum enlargements are that, in the
+former, we have the sensitive compound of silver suspended
+in a vehicle of gelatin, and, in the latter, a thin coating of
+an aqueous solution of the sensitive salts. In the former
+process, the image is not shown until the paper has been
+developed in the bath, while in the latter, the image is
+shown upon the paper when it is exposed to the light; so
+that, in the latter, the image or picture has only to be fixed<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>
+or made permanent, while in the former, it is developed,
+then fixed. The gelatin bromide paper is coated with a
+solution of gelatin, bromide of potassium and nitrate of
+silver, developed with a solution of oxalate of potash,
+protosulphate of iron, sulphuric acid and bromide of potassium
+and water, and fixed with hyposulphate of soda. It
+is manufactured in America by E. and H. T. Anthony &amp;
+Co. and by the Eastman Dry Plate Company.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p>
+<h2><a name="CRAYON_MATERIALS" id="CRAYON_MATERIALS"></a>CRAYON MATERIALS.</h2>
+
+
+<p>The following materials will be found necessary for
+crayon work:</p>
+
+<p style="margin-left: 2em;">
+A good photographic enlargement,<br />
+Easel,<br />
+Mahl stick,<br />
+Three inch magnifying glass,<br />
+Square black Conte crayon, Nos. 1, 2 and 3,<br />
+Charcoal holder for the same,<br />
+Hardmuth's black chalk points, Nos. 1, 2, 3, 4 and 5,<br />
+Holder for the same,<br />
+Box Faber's crayon points, Nos. 1, 2 and 3,<br />
+Holder for the above crayons,<br />
+Conte crayon, in wood, Nos. 0 and 1,<br />
+6 B. Faber's holder for Siberian lead pencil points,<br />
+4 H. Faber's holder with Siberian lead pencil point,<br />
+Velour crayon,<br />
+Peerless crayon sauce,<br />
+Black Conte crayon sauce, in foil,<br />
+White crayon, in wood,<br />
+Bunch of tortillon stumps,<br />
+<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>Large grey paper stumps,<br />
+Small grey paper stumps,<br />
+The Peerless stump,<br />
+Large rubber eraser, 4 inches by 3-4 inches square, bevelled end,<br />
+Two small nigrivorine erasers,<br />
+Holder for    "          "<br />
+Piece of chamois skin,<br />
+Cotton batting of the best quality,<br />
+A sheet of fine emery paper,<br />
+A sharp pen knife,<br />
+One pound of pulverized pumice stone,<br />
+Mortar and pestle,<br />
+A large black apron,<br />
+Paste-board box about ten inches square and two inches deep,<br />
+Back-boards for mounting crayon paper and photographic enlargements,<br />
+Pliers,<br />
+Paste brush, three inches wide, to be used for starch paste or for water.<br />
+</p>
+
+<p>Experience has taught me that we cannot be too particular
+in giving directions as to the materials for our work, and
+therefore I have carefully included in the above list everything
+necessary to thoroughly equip the student. While the
+magnifying glass mentioned above is not an actual necessity,<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+still a good one will be found very useful, as it will
+often show details in the photograph which would not be
+discovered by the naked eye. My male readers may at
+first object to so feminine an article as an apron, but it will
+be found thoroughly useful, and I am sure they will never
+consent to abandon it after they have once become accustomed
+to wearing it.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+<h2><a name="THE_SPECIFIC_USE_OF_CRAYON_MATERIALS" id="THE_SPECIFIC_USE_OF_CRAYON_MATERIALS"></a>THE SPECIFIC USE OF CRAYON MATERIALS.</h2>
+
+
+<p>I will now explain the specific use and nature of these
+materials, reserving the various kinds of photographic enlargements
+and their special qualities and advantages, for
+treatment under their different manipulations.</p>
+
+<p>The easel should be set so that the light strikes the
+picture at an angle of 90 deg., and, when working from a
+side light, it will very often be necessary to darken the
+lower part of the window to accomplish this result.</p>
+
+<p>The mahl stick is held in the left hand, and is used as a
+rest for the right arm in working. Though a trifle awkward
+and difficult at first, its use must, nevertheless, be
+learned, as the hand will not be steady without it, especially
+in portrait work.</p>
+
+<p>The square black Conte crayons are for filling in where
+there are large dark places. The No. 1 is used with the
+black Conte crayon sauce in making the crayon sauce (to be
+applied with the ends of the fingers) to produce a broad
+effect and to make the stipple effect on the paper after it
+has been rubbed with pumice stone.</p>
+
+<p>The crayon points, Nos. 1, 2 and 3, are used in making
+outlines and also in putting in the lines to produce the line<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>
+effect. In general, they are to be used in free-hand
+crayons and on silver and platinum enlargements.</p>
+
+<p>The Hardmuth black chalk points are similar to the
+crayon points, and, if preferred, should be used according
+to the directions given for the crayon points.</p>
+
+<p>The Hardmuth points are made in five numbers and
+will, therefore, produce more shades of black than the
+crayon points. They are also twice as long as the latter,
+without costing any more.</p>
+
+<p>The Conte crayons, in wood, are used for finishing
+the crayon, especially the No. 0, its hardness adapting it
+to that purpose.</p>
+
+<p>The 6 B. Faber's holder, for lead pencil points, is for
+holding the Faber's Conte crayon No. 0 after it has become
+short, the wood being carefully removed before the crayon
+is placed in the holder.</p>
+
+<p>The 4 H. holder, with Siberian lead pencil point, is used
+in the very finest work on bromide paper, for finishing in
+the light places. Care must be employed not to use too
+much lead on the paper, as, being of a different color from
+the crayon, it would show if too freely applied. It is also
+used in making monochromes.</p>
+
+<p>Velour crayon is very black. It is only used to produce a
+velvet effect and whenever it is necessary to make a very strong
+dark&mdash;that is, a dark that is deeper than an ordinary shadow.<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<p>The Peerless crayon sauce is the same as the crayon sauce
+made from No. 1 Conte crayon and the black Conte crayon
+sauce in foil. It is made and put up in bottles by F. W.
+Devoe &amp; Co., and can be bought of any dealer in artist's
+materials. It will be found more convenient to get it in
+this form than to prepare it in the studio; it costs no more
+and saves the expense of a mortar and pestle. As it is
+ground by machinery and passed through a very fine
+screen, there are no small hard particles in the preparation,
+and its use is recommended.</p>
+
+<p>Black Conte crayon sauce, in foil, is used in making the
+crayon sauce to be applied with the fingers.</p>
+
+<p>White crayon, in wood, is for touching up the high
+lights of white drapery, and especially for the high lights
+on white lace; it is to be used very sparingly.</p>
+
+<p>Tortillon stumps are used in making the face, when
+it is desired to produce the stump effect, and also in
+making the hair.</p>
+
+<p>The large grey paper stump serves to make the broad
+effect of shade in the stump effect in the hair and dress.</p>
+
+<p>The Peerless stump is used to produce the same effect as
+the large grey paper stump. It will be found far better
+than the paper stump for work on the bromide paper, as it
+is made of softer material and causes the crayon to adhere
+to the paper more readily.<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+
+<p>The large rubber eraser is to put in the broad effects of
+light in the background and dress. The small nigrivorine
+erasers are used when it is necessary to remove the crayon,
+in order to produce small decided lights&mdash;principally in
+making free-hand crayons and to produce the line effects
+over a platinum and silver enlargement. While the
+stumps are used for putting on the crayon, the erasers are
+used to remove it. The chamois is also used for removing
+the crayon, to produce broad effects of light.</p>
+
+<p>The cotton is for applying the crayon sauce to the paper and
+for rubbing the crayon at different stages in the completion
+of the picture. The crayon cannot be removed with the eraser
+unless it has first been rubbed with the cotton; and this
+must be borne in mind, as the use of the eraser at this stage
+would only result in making a black line or spot, when
+it was intended to produce a white line or spot.</p>
+
+<p>It will also be well to make a chamois block for applying
+the crayon sauce, to be worked with the tortillon stump.
+This is done by tacking onto a block, four inches long, two
+inches wide and three-quarters of an inch thick, a piece
+of chamois skin, three inches wide by five inches long,
+allowing it to cover the top, while it is fastened along the
+four edges. This is placed face down in the box of crayon
+sauce and rubbed around in it, so that the crayon will
+adhere thoroughly to the chamois.<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+
+<p>Emery paper is used to sharpen the nigrivorine erasers
+and the crayon points.</p>
+
+<p>The knife, which is a very important tool, should be a
+good one, always kept well sharpened. The best for this
+work is an ink eraser, with a rounding point, a long edge
+on one side of the blade and a short one on the other side,
+extending about an inch from the point.</p>
+
+<p>The mortar and pestle are for pounding or grinding the
+Conte crayon No. 1 and the crayon sauce, in making the
+special crayon sauce mentioned above.</p>
+
+<p>The paste-board box is intended to hold this special
+crayon sauce or the Peerless sauce.</p>
+
+<p>The back-boards are one inch thick, made to fit the back
+of the strainer (described in the next chapter), and are used
+in mounting. It will be necessary to have three different
+sizes, the most useful being 11×15, 15×19 and 19×24
+inches, to fit, respectively, strainers measuring 16×20,
+20×24, 24×29 and 25×30 inches.</p>
+
+<p>The pliers should be either what is known as shoe-maker's
+pliers (which are the cheapest) or the canvas pliers,
+used in stretching that material; they are needed to stretch
+the cloth on the strainer.</p>
+
+<p>The pulverized pumice stone is used in preparing the
+surface of crayon paper and bromide enlargements, to produce
+the stipple effect.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+<h2><a name="THE_STRAINER" id="THE_STRAINER"></a>THE STRAINER.</h2>
+
+
+<p>The strainer, on which crayon paper or any kind of
+photographic enlargement is to be mounted, should be the
+same size as the intended picture. The frame is made of
+four strips of pine wood, two inches wide, one inch thick on
+the outside, and three quarter inch on the inside, making a
+quarter inch bevel on the inside edge of the face; these
+are nailed together and glued. To this, tack a piece of
+bleached muslin, free from knots and rough places,
+which has been cut two inches larger each way than the
+frame. Use six ounce Swede upholsterers' tacks, placing
+one in the centre of the outside edge of one side and
+another directly opposite, stretching the muslin as firmly as
+possible with the fingers. Then place a third tack in the
+centre of the outside edge of the top, and a fourth in the
+centre of the bottom of the frame, stretching as before. In
+finishing, use the pliers in addition to the fingers, and remember
+that you must always stretch from the centre
+towards the corner or you will have wrinkles in the muslin.
+As this process should be thoroughly understood, I
+will give minute directions for completing the operation.
+Having already placed the four tacks as above, stand the<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+strainer on its bottom edge on the floor, with the back
+towards you, and put in the fifth tack two inches to the
+right of the third, that is, the one on the top previously
+mentioned. Instead of stretching the muslin directly back
+in a straight line towards you and at right angles to the
+fourth tack, you must draw it with the fingers towards the
+right hand corner. Then finish stretching, and tacking
+this edge to the right hand corner of the top, placing the
+tacks two inches apart and taking care to only draw the
+cloth sufficiently to have it perfectly smooth and straight on
+the edges, leaving the stretching to be done with the pliers;
+then turn the strainer on the side edge and tack at two
+inch intervals from the centre of the other (that is the
+upper) side to the right hand corner, same as before, and
+then tack half of the bottom edge and half of the other
+side in the same way. You will observe that you now
+have only one half of the muslin tacked&mdash;that is, one
+half on each edge&mdash;and you then complete the tacking,
+using the pliers to thoroughly stretch the muslin. This
+method has the advantage that you can stretch the muslin
+on the strainer and get it on better and in less than half
+the time required by the old method; also that you stretch
+the whole surface of the muslin with the pliers, and do it
+with only half the work.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p>
+<h2><a name="MOUNTING_CRAYON_PAPER_AND_PLATINUM" id="MOUNTING_CRAYON_PAPER_AND_PLATINUM"></a>MOUNTING CRAYON PAPER AND PLATINUM<br />
+AND SILVER ENLARGEMENTS.</h2>
+
+
+<p>Wet in clean water a piece of muslin about two inches
+larger each way than the paper you intend to mount, and
+lay it on the mounting board or table, removing all the
+wrinkles with a wet brush; then place the paper on this
+cloth, face down, and with some water and a brush, wet
+the back of the paper, continuing to use the brush until
+all the wrinkles are entirely smoothed out and the paper
+lies down perfectly flat. Any number of pieces of paper
+can be wet at the same time by placing one over the other,
+provided the larger sizes are laid down first and each is
+brushed out flat before another is placed over it. Let
+the paper soak for about fifteen minutes.</p>
+
+<p>After having removed the surplus water from the paper
+with a cloth, sponge or squeegee, apply starch paste to
+the paper with a paste brush, going over it thoroughly,
+until it has received an even coat of paste free from
+lumps. Then lay one of the back-boards on a table and,
+having placed the strainer down on it face up, give the
+cloth of the latter a coat of paste, using the same care you
+did in going over the paper, taking pains to have the edges<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+of the cloth well pasted, and to remove, by passing your
+finger all around the outside edges of the strainer, any paste
+which may be there. Now pick the paper up and place it
+on the pasted surface of the strainer, which an assistant
+should hold tipped towards you. (The help of an assistant
+will be found almost indispensable in mounting).
+After the paper is in the proper place, lay the strainer
+down and secure each corner of the paper, by first lifting
+it slightly and then rubbing it down with a clean cloth
+from the direction of the centre towards the corner you
+have lifted up. With a sharp knife trim off the edges
+of the paper and set it away to dry, but neither near a fire
+nor in too cold a place. You can very often save the remounting
+of a paper by occasionally glancing at it as it
+dries and by gently rubbing down a little with the fingers
+any places that look as if they would not stick. Very
+often the paper will be all right with the exception of this
+difficulty at one edge or corner. This is invariably the
+lower part, and is caused by the water settling there. It
+is therefore advisable to change the position of the strainer
+two or three times as it dries, letting it stand on different
+edges.</p>
+
+<p>After the paper is dry, if there are any places that
+have refused to stick fast to the cloth, it will be impossible
+for you to remedy the matter, and you must remount it.<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+You proceed, therefore, to remove the paper from the cloth.
+This you do by turning the strainer face down and filling
+the back of it with warm water, allowing it to remain
+there until you think that the paste has become thoroughly
+dissolved; then turn the strainer over and carefully
+remove the paper. If it should not come off readily, fill
+the strainer again with water, and soak it until it will
+come off. After you have removed the paper, lay it on
+a wet cloth, and with a case knife clean off the starch,
+using care not to injure the surface of the paper, and also
+clean off the starch from the strainer; then proceed to remount
+as before. When you once understand that you
+cannot spoil an enlargement on account of defective mounting,
+you will work more confidently. After you have
+tried three times to remount, and the paper still insists in
+not sticking, you must take a new strainer, as too many
+wettings will have spoilt the cloth and wood. Sometimes
+there seems to be a difference in the stretching qualities of
+the enlargement and cloth, which makes it impossible to
+produce a perfect cohesion. When, therefore, it has been
+remounted three times and does not come out perfect, your
+best course is to mount a piece of crayon paper on a new
+strainer, and after it is thoroughly dry to then mount the
+enlargement on that. This you do in the manner described
+for mounting in the first instance, directly on the<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+strainer, except that you do not coat with paste the crayon
+paper already mounted.</p>
+
+<p>It sometimes happens, that after the paper has been
+mounted and dried, it is discovered that lumps in the
+paste have caused defects to appear on the face of the paper
+in the shape of raised surfaces that unfit it for the intended
+purpose. These can be entirely removed by wetting the
+back of the strainer with some clean water immediately
+behind where the lumps of paste are, and with a knife
+scraping the cloth a little at these places; the surplus
+paste will work itself out through the cloth.</p>
+
+<p>The starch paste used in mounting should not be made
+very thick; on the contrary, it should be as thin as is consistent
+with still retaining all its adhesive qualities. Should
+you fear that it is too thick or lumpy, strain it through a
+piece of cheese cloth. In a former edition of this book I
+advised adding to the paste a little white glue dissolved in
+warm water, but I do not now consider this necessary for
+crayon paper or photographic enlargements, and do not
+recommend its use except for mounting paper of unusual
+thickness.</p>
+
+<p>The foregoing directions for mounting apply to platinum
+or silver enlargements, crayon or other kinds of paper, but
+not to bromide enlargements. The bromide paper requires
+a different method of handling on account of the gelatin<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+surface, which when wet is destroyed by contact with any
+dry substance, as the latter removes the gelatin.</p>
+
+<p>For determining the proper position of photographic
+enlargements (bust pictures) on the strainer, the following
+scale will be useful as a general guide. When the size of
+the strainer is 16×20, 20×24, 22×26, or 25×30 inches,
+the distances from its top to the top of the head of the
+portrait should be respectively 3-1/2, 4, 4-1/2 and 5-1/2 inches.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+<h2><a name="MOUNTING_BROMIDE_ENLARGEMENTS" id="MOUNTING_BROMIDE_ENLARGEMENTS"></a>MOUNTING BROMIDE ENLARGEMENTS.</h2>
+
+
+<p>The first requisite for this is a water-tight tray, large
+enough to hold the enlargements. A hard rubber tray can
+be purchased, or a wooden one that will answer the purpose
+may be made. I use one of my own construction that is
+cheap and serviceable. It is simply a wooden box, 27×32
+inches and 4 inches deep, made of 1/2 inch grooved material
+and lined with black oil cloth, not cut at the corners, but
+folded in. In this, when about half full of water, lay the
+enlargement face up, and let it remain in the water fifteen
+minutes. It should then be laid face down on the wet cloth
+(which should be all ready) as described in the preceding
+chapter, for mounting crayon paper. Care must be exercised
+to have the cloth wet all over, for if there should be
+any dry spots in it they would ruin the gelatin surface.
+With a cloth or squeegee remove the water from the
+back of the enlargement and also from the cloth around
+its edges, for if there is too much water on the edge of the
+cloth it will work up into the paste and prevent it from
+sticking when mounted. Now paste the enlargement and
+strainer according to the directions given for mounting
+crayon paper, place the enlargement on the strainer and<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+rub it down by using the fingers wet in a little water, or
+the squeegee can be used; and then trim off even with the
+outside of the strainer. Avoid rubbing too hard along the
+edges, as by so doing you will press out all the paste and it
+will not stick.</p>
+
+<p>You can remount a bromide enlargement as often as
+necessary in case it does not come out perfect, only bear in
+mind that you must not allow anything dry to touch the
+surface when wet. But I should not advise you to try
+more than three times directly on the strainer. It would
+be better to mount a piece of crayon paper on a new
+strainer, and after it is dry to remount the bromide enlargement
+on that.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+<h2><a name="OUTLINES_NEGATIVE_OUTLINE" id="OUTLINES_NEGATIVE_OUTLINE"></a>OUTLINES&mdash;NEGATIVE OUTLINE.</h2>
+
+
+<p>After the crayon paper has been mounted on the strainer
+and dried, the next step is to obtain the outline. I will first
+treat of free-hand crayons, taking it for granted that the
+reader is not able to produce crayons from life, but works
+from a photograph. There are five different methods
+of making an outline, from which the reader can make
+his own selection.</p>
+
+<p class="figcenter" style="width: 500px;">
+<a name="negative_outline" id="negative_outline"></a>
+<img src="images/image040.jpg" width="500" height="366" alt="NEGATIVE OUTLINE&mdash;DARK CHAMBER.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="NEGATIVE OUTLINE&mdash;DARK CHAMBER.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">NEGATIVE OUTLINE&mdash;DARK CHAMBER.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>Make a negative from the photograph that is to be
+enlarged, and construct for a room that is entirely dark,
+with the exception of one window, a dark inside shutter,
+with an opening in it the size of the negative you intend
+to use. Place a cleat on each side and at the bottom
+of this opening, so that the negative may be made to
+slide in front of it. Having removed the ground glass
+from your camera box, fasten the latter against the shutter
+so that the opening comes in the centre of the box. You
+can fasten it with four hooks and eyes, or arrange cleats on
+the shutter and pieces on the box, so that it will slide into
+place. Be sure and have the box come tight against the
+shutter so that the light will be entirely excluded. Place
+the negative over the small opening in the shutter and adjust<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>
+the camera box; then stand the easel with the crayon
+strainer on it at the proper distance to give the required
+size of the enlargement and focus the image sharp on the
+crayon paper. The strainer must stand at the same angle
+as the shutter; that is, if the shutter is perpendicular then
+the strainer must stand perpendicular also. Then go over
+the outline and shadow lines with the charcoal, after which
+open the shutter and examine the outline and see if it is
+right. As you are working in the dark you are apt to
+overlook some lines. If you have done so you can close
+the shutter again and make them. If it proves to be all
+right go over it with the crayon point No. 2.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p>
+<h2><a name="MAGIC_LANTERN_OUTLINE" id="MAGIC_LANTERN_OUTLINE"></a>MAGIC LANTERN OUTLINE.</h2>
+
+
+<p class="figcenter" style="width: 471px;">
+<a name="mcallister" id="mcallister"></a>
+<img src="images/image042.jpg" width="471" height="500" alt="McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<hr style="width: 45%;" /><p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+<p class="figcenter" style="width: 600px;">
+<a name="magic_lantn_outln" id="magic_lantn_outln"></a>
+<img src="images/image043.jpg" width="600" height="401" alt="MAGIC LANTERN OUTLINE.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="MAGIC LANTERN OUTLINE.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">MAGIC LANTERN OUTLINE.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>This is the method I am using at present in my own
+free-hand crayon work, and prefer because it does not require
+a negative. I use a McAllister Magic Lantern, No.
+653, with a wonder camera attachment. This attachment<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+enables you to make an enlargement from a cabinet or
+card photograph, and to dispense with a negative. If you
+intend to do very much free-hand crayon work I should
+advise you to get one, as it will soon pay for itself. The
+lantern should be put in working condition according to
+the printed directions that come with it, and placed on
+your table. I use a table six feet long, sixteen inches
+wide, and thirty inches high. Nail to one side of the table,
+four inches from the end, a stick six feet long, one inch
+wide, and one-half inch thick, using two two-inch brads.
+One end of the stick should rest on the floor, care being
+taken that it stand perfectly perpendicular, a square being
+used if necessary to secure this result. The stick will have
+a length of 42 inches above the table, which will be ample
+for the use of a 25 by 30 strainer. Place the strainer,
+with the crayon paper mounted on it, facing outward on its
+bottom edge on the table and nail it fast to the stick with
+two brads, letting it stand at right angles with the edge of
+the table with its back towards the lantern, which is at
+the other end of the table. The object of placing the
+strainer with the back towards the lantern is that the image
+must show through the strainer or the outline would be
+drawn reversed. Draw a charcoal mark on the back of
+the strainer vertically through the centre, and mark the
+proper distance from the top of strainer horizontally where<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>
+the top of the head should come. Now move the lantern
+until you have it the proper distance from the strainer to
+make the head the size desired, and afterwards focus the
+features sharp and distinct, using the charcoal marks for
+the proper place to make the head, the vertical line coming
+through the centre of the face; then, seated at the end of
+the table, in front of the strainer, make a charcoal outline
+as in the former method.</p>
+
+<p>Of course the magic lantern can be used for producing
+an outline only at night, or in a perfectly darkened room.</p>
+
+<p>The following table will prove a safe guide to follow in
+determining the size of the head for bust pictures. The
+distance from the roots of the hair on the forehead to the
+bottom of the chin should be:</p>
+
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="hdsz">
+<tr><td align="center">For</td><td align="right"> 14</td><td align="center"> by</td><td align="right"> 17</td><td align="center"> inch</td><td align="center"> pictures,</td><td align="left"> 4</td><td align="center">inches,</td></tr>
+<tr><td align="center">"</td><td align="right"> 16</td><td align="center"> "</td><td align="right"> 20</td><td align="center">"</td><td align="center">"</td><td align="left"> 4-1/2</td><td align="center"> "</td></tr>
+<tr><td align="center">"</td><td align="right"> 18</td><td align="center"> "</td><td align="right"> 22</td><td align="center">"</td><td align="center">"</td><td align="left">5</td><td align="center"> "</td></tr>
+<tr><td align="center">"</td><td align="right"> 20</td><td align="center"> "</td><td align="right"> 24</td><td align="center">"</td><td align="center">"</td><td align="left">6</td><td align="center"> "</td></tr>
+<tr><td align="center">"</td><td align="right"> 22</td><td align="center"> "</td><td align="right"> 27</td><td align="center">"</td><td align="center">"</td><td align="left">6-1/2</td><td align="center"> "</td></tr>
+<tr><td align="center">"</td><td align="right"> 25</td><td align="center"> "</td><td align="right"> 30</td><td align="center">"</td><td align="center">"</td><td align="left">7</td><td align="center"> "</td></tr>
+<tr><td align="center">"</td><td align="right"> 29</td><td align="center"> "</td><td align="right"> 36</td><td align="center">"</td><td align="center">"</td><td align="left">7</td><td align="center"> "</td><td align="left"> showing the hands.</td></tr>
+</table></div>
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p>
+<h2><a name="TRANSFER_OUTLINE" id="TRANSFER_OUTLINE"></a>TRANSFER OUTLINE.</h2>
+
+
+<p>For this method an enlargement made from the photograph
+is required, but it needs to be an enlargement of the
+head only&mdash;that is, a 11×14 inch enlargement of the head
+will answer for a 25×30 inch crayon portrait, and serve as
+a guide to work from in making the crayon.</p>
+
+<p>Transparent tracing paper (made of fine tissue paper,
+oiled with clarified linseed oil and then dried,) is laid on
+the enlarged photograph, and the outline gone over with a
+soft lead pencil. The tracing paper is then turned and its
+back is rubbed all over with charcoal, when it is laid charcoal
+side down on the mounted crayon paper, and carefully
+fastened with four thumb tacks. The lines first made are
+then gone over with a sharp pointed lead pencil. When
+the tracing paper is removed a perfect outline in charcoal
+is found to have been made. This should then be gone
+over with the crayon point No. 2. The rest of the portrait
+is sketched in from the original picture.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>
+<h2><a name="THE_METROSCOPE" id="THE_METROSCOPE"></a>THE METROSCOPE</h2>
+
+
+<p>Comprises a series of squares accurately engraved upon
+the finest plate glass by machinery. The two plates of glass
+(of which one form of the instrument consists), are ruled for
+convenience with squares differing in size. These are
+framed and held together by thumb screws, allowing sufficient
+space between them for inserting and securing a picture
+the size of a cabinet photograph. The lines are thus
+brought into such perfect contact with all parts of the photograph
+so that they appear to be drawn on it. One feature
+of this instrument which renders the square system very
+practical, consists of the division and sub-division of the
+squares by dotted lines and dash lines. The eye naturally
+divides a line or space into halves and quarters, and for
+this reason the dash lines have been designated for quartering
+the main lines, and the dotted lines for quartering the
+squares thus formed. This gives sixteen times as many
+squares for use as are drawn upon the photograph.</p>
+
+<p>A method based on the same principle as the metroscope,
+but not requiring the use of that instrument, may be
+pursued, as follows: Fasten the photograph to a board,
+mark the space at the top, bottom and sides into one-quarter<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>
+inch divisions, and drive sharp pointed pins in each of the
+division marks. Taking a spool of white thread run it
+across vertically and horizontally from each pin to the one
+opposite, and you will then have the photograph divided
+into one-quarter inch squares; then, if your enlargement is
+to be six times the size of the photograph, take the mounted
+crayon paper and divide the sides and top and bottom in
+1-1/2 inch squares, run thread across the same as for the
+photograph, and then proceed to draw the outline, first in
+charcoal, and afterwards with the crayon. The spaces
+marked on the crayon paper should in each case, of course,
+be as many times greater than those marked on the photograph
+as the intended enlargement is greater than the photograph.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p>
+<h2><a name="THE_PANTOGRAPH" id="THE_PANTOGRAPH"></a>THE PANTOGRAPH.</h2>
+
+
+<p>This instrument for enlarging or reducing a picture was
+invented about the year 1603. It consists of four metallic
+or wooden bars or rules, which are perforated by a series of
+holes (numbered from 1 to 20), and connected together by
+means of an adjustable thumb screw. The instrument is
+provided with a tracing and a marking point, and a screw
+or point which is forced into the drawing board to hold the
+instrument in position. A good pantograph will cost
+about two dollars; those of a cheaper grade are entirely
+worthless for practical use, while a good one will last a life
+time. A little experience will enable any one to learn the
+use of the numbers.</p>
+
+<p>To employ the instrument select the number on the bars
+corresponding to the number of times the subject is to be
+enlarged, and connect the adjustable ends of the bars so
+that they intersect at this number; secure the pantograph
+to the drawing board at the left hand side; place a piece of
+manilla paper at the other end of the board and secure it
+with thumb tacks, taking care to smooth all the wrinkles
+out. Next adjust the marking point in the centre of the
+paper; and secure the photograph to the board so that its<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>
+centre shall be directly under the tracing point, which
+should always touch it. If it does not do so at first, place
+a little weight on the instrument over this point heavy
+enough to bring it in contact with the photograph. Now
+guide the instrument, by taking hold of the tracing point
+while at the same time you watch the marking point.
+In this manner go over the entire photograph, putting in
+all the details necessary, after which you can transfer this
+outline to the crayon paper by means of the tracing paper
+according to the former method given for transferring an
+outline.</p>
+
+<p>These are all the best methods of producing an outline.
+In each of them you fasten the charcoal lines with the No.
+2 crayon points, and then, having brushed off the charcoal,
+proceed to put in the background for your portrait. This
+you do by any one of the methods given in the following
+pages.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+<h2><a name="FOUR_METHODS_OF_MAKING_THE_BACKGROUND" id="FOUR_METHODS_OF_MAKING_THE_BACKGROUND"></a>FOUR METHODS OF MAKING THE BACKGROUND.</h2>
+
+
+<p>The background can be made first, with the crayon sauce
+and the use of the large gray stump and rubber eraser;
+second, with the cotton and rubber, by using the cotton
+in applying the crayon sauce to put in the dark places in
+the background, and then finishing with the rubber; third,
+by the use of the line effect; and fourth, by the stipple
+effect, produced by the use of pumice stone. This last I
+consider far superior to any of the others, as it changes the
+appearance of the surface of the paper entirely, and produces
+an effect altogether different from that ordinarily shown in a
+background. It is also free from the mussy, dirty appearance
+which is produced by the use of the cotton and crayon
+sauce alone. I have been repeatedly asked by both amateurs
+and professionals what kind of paper I use in free-hand
+crayons. The inquiry arose from the fact that treating
+the paper by the fourth method changes the appearance
+of the surface of the paper and also its color. I have
+never before, however, given to the public, nor even to my
+pupils, the secret of this process. When the pupil has mastered
+it so as to once produce the satisfactory effect of<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>
+which it is capable, he will find that it has all the advantages
+I claim for it and is a secret well worth knowing, in
+fact, what would be termed one of the tricks of the profession,
+and a very valuable one. I must confess, however,
+that I discovered it by an accident. I had been experimenting
+for years in making backgrounds in order to produce
+an effect that was entirely satisfactory to me, and had
+failed to reach just what I wanted. One day, however, I
+was at work on a portrait that I was very particular with,
+but the background of which proved quite unsatisfactory to
+me. In despair I threw on a handful of pumice stone, intending
+to entirely remove the background by its aid, when,
+to my surprise and delight, I found I was producing the
+very effect that I had been seeking for years, namely, one
+rendering the background of a different color from the face
+and giving it a clear, transparent appearance, so that the
+eye seemed to penetrate it, quite different from the opaque,
+almost dirty backgrounds, resulting from the use of other
+methods.</p>
+
+<p>I will treat each of these methods in separate chapters
+further on.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span></p>
+<h2><a name="FREE-HAND_CRAYONS_AND_THOSE_MADE_FROM" id="FREE-HAND_CRAYONS_AND_THOSE_MADE_FROM"></a>FREE-HAND CRAYONS AND THOSE MADE FROM<br />
+PHOTOGRAPHIC ENLARGEMENTS.</h2>
+
+
+<p>The principal difference between the appearance of free-hand
+crayons and those that are made over a photographic
+enlargement, is that in the former the shadows are lighter
+and more transparent. In the matter of feeling, however,
+the free-hand crayon is much more satisfactory to the artist
+for he knows it is all his own work, and that he has not
+depended on the photographic enlargement to help him
+make the portrait.</p>
+
+<p>After the outline has been drawn, in making a free-hand
+crayon, the portrait is still not yet in the same state of advancement
+as a silver, platinum or bromide enlargement;
+for the reason that the latter not only has the outline, but
+also the faint impression in light and shade of the rest of
+the portrait. I will, therefore, in the next chapter, give instructions
+for filling in the free-hand crayon up to such a
+degree of light and shade as shall put it in the same condition
+as the enlargement. From that point on the same
+directions (to be subsequently given) for finishing the
+portrait will apply equally to both the free-hand crayons
+and the enlargements, except that the bromide is understood
+to require special treatment.<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></p>
+
+<p>The <a href="#frontispiece">frontispiece</a> was made from a free-hand crayon
+which was executed on Steinbach crayon paper with a
+magic lantern outline. This shows the stipple effect in the
+face and drapery, and a broken line effect in the background.
+The student will notice the difference between
+this illustration and that facing page <a href="#bromide">81</a>, which was made
+from a bromide crayon. In the bromide crayon the shadows
+are dark and strong, while in this they are lighter and
+more transparent.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
+<h2><a name="FILLING_IN_THE_FREE-HAND_CRAYON" id="FILLING_IN_THE_FREE-HAND_CRAYON"></a>FILLING IN THE FREE-HAND CRAYON.</h2>
+
+
+<p>Having your crayon outline already made on the
+mounted strainer, lay the latter down on the table face up,
+and proceed to put in a pumice stone background with the
+crayon sauce according to instructions hereafter given on
+page <a href="#Page_70">70</a> for producing that kind of background, making sure
+that you go entirely over the outline. Then place the
+strainer on the easel, and after putting in the cloud effect
+take the chamois block in your left hand, and, with a tortillon
+stump in your right, put in the shadows in a strong,
+clear and decided manner. Commencing on the hair, put
+in the broader shadows first, working the stump in the same
+direction that the lines of the hair go, and endeavor to give
+the soft flow that the hair should have, avoiding making
+lines or any attempt to make individual hairs. The eyebrows
+should then be put in in the same way as the hair,
+care being taken to preserve the form; then the eyes, beginning
+with the upper lids, putting in the lines between
+the eye and the lid, and also the second line forming the
+lid. Do not line in the lower lid between the eye and the
+lid, but put in the under line of the lower lid. Next form
+the pupil, placing it in the centre of the iris, making it<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+very dark; then the iris, noticing in particular that the
+upper lid throws a shadow on the top of the iris; then the
+shading of the nose and nostrils and shadows under the
+nose. The mouth is the next important feature, and, as
+there are no decided lines in it, you must put in none, but
+have the degrees of light and shade form the mouth. Begin
+with the corners, and notice carefully that here lies nearly
+the whole expression of the lower part of the face; next
+treat the central point of the lips and complete the mouth;
+then make the shadows around the mouth and chin, after
+which, put in the ears, and then model up the face, making
+all the shadows broad and decided, leaving the details for
+the finishing touches, but being careful in the modeling to
+retain all of the values. Next put in the clothes with the
+large stump, sweeping it gently across the lights in different
+directions, allowing the lines to cross each other occasionally.
+Carefully preserve the form in this, giving the
+proper shape to the lapels of the coat or folds in the dress,
+and to the arms. Avoid detail and do not carry the clothes
+as far down as you want them to show in the finished picture.
+Lace work should not have too much detail, but be
+made somewhat indistinct; only show a few of the forms
+out sharp and defined, giving the pattern.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+<h2><a name="LINE_EFFECT" id="LINE_EFFECT"></a>LINE EFFECT.</h2>
+
+
+<p>This can be produced in crayon portraits made over a
+photographic enlargement, or in free-hand crayons after
+the filling in just described has been done. 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 represent
+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, as that is the
+way the grain of the board would be. If we should take
+the same board and bend it in the form of a circle, we
+would in order to represent the board in that position,
+draw lines running in a circle to correspond with the grain
+and position of the board. The idea to be impressed is,
+that when we want to represent an object with crayon and
+that object is flat, we draw straight lines to represent its
+surface; and when the object is round or partly so, we
+draw curved lines, conforming them to the surface of the object.<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>
+Light and shade in nature have each their different
+qualities. Light expresses form while shade obscures it;
+consequently, in the light places of an object we will see its
+grain or texture, and that grain or texture will gradually
+become obscured as it enters the shadow until it is entirely
+lost in the deepest shadows. This grain will not show in
+nature as decided where the strongest lights are as it will
+in the half shadows; and, therefore, in the crayon representation
+the grain effect should show more decided in the
+half shadows. If your crayon is not true in this respect, it
+will appear coarse and fail to please as a work of art on
+account of its falsity to nature. The line effect is produced
+throughout the whole picture, in the background, face and
+dress.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+<h2><a name="STIPPLE_EFFECT" id="STIPPLE_EFFECT"></a>STIPPLE EFFECT</h2>
+
+<div class="blockquot"><p><i>On a photographic enlargement or a free-hand crayon after
+the outline and masses of light and shade have been
+made with the tortillon stump, as explained
+on page <a href="#Page_55">55</a>.</i></p></div>
+
+<p class="figcenter" style="width: 400px;">
+<a name="lines_stipple" id="lines_stipple"></a>
+<img src="images/image060.png" width="400" height="365" alt="LINES TO PRODUCE THE STIPPLE EFFECT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="LINES TO PRODUCE THE STIPPLE EFFECT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">LINES TO PRODUCE THE STIPPLE EFFECT.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>When putting in a background with the pumice stone as
+described in the fourth method on page <a href="#Page_70">70</a>, treat the whole
+surface of the paper with pumice stone in order to raise the
+grain of the paper, but go over the face lightly. Then
+place the strainer on which the portrait is mounted on the
+easel, and put in the shadows with the tortillon stump, producing
+the lights with the eraser; finish with the No. 0
+crayon. But instead of producing a diamond effect, as you
+did with the lines, you now want to have a stipple effect,
+which is that of small black and white spots; the paper
+producing the white spots, and the crayon the black ones.
+To produce this make the lines in the shadows and half-shadows,
+but not in the light places, in the manner shown
+in the illustration on the following <a href="#lines_stipple">page</a>; instead of
+crossing them to form diamonds, using short lines and
+varying their direction and intersection with reference to
+the ultimate effect; then rub them with the end of the
+finger. In finishing, gradually divide up all the small light<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>
+parts with the pencil and the dark with the eraser: if it is
+necessary at any time to rub the crayon, use the end of the
+finger instead of the cotton. Be careful not to get too much
+crayon on the paper, that is, you must not "force up" or be
+compelled to make the shadows too dark by the use of the
+crayon; they should be made as dark as necessary with the
+stump before finishing. Should you find in finishing that
+they are not dark enough, use the stump to make them
+darker, as the pencil is only intended to give the stipple
+effect, and should be used in a very light and delicate way.
+Continue the process of finishing according to the directions
+hereafter given for bromide enlargements. The foregoing
+illustration is the first or ground work for the stipple effect<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>
+produced by the aid of the fingers. To obtain this effect
+without rubbing with the fingers, make small black dots,
+instead of the lines shown above, until the desired effect is
+produced. The latter method results in a coarser stipple
+effect, but it requires a much longer time and is more difficult
+than the former.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
+<h2><a name="BACKGROUNDS_GENERAL_PRINCIPLES" id="BACKGROUNDS_GENERAL_PRINCIPLES"></a>BACKGROUNDS&mdash;GENERAL PRINCIPLES.</h2>
+
+
+<p>Always commence the portrait by putting in the background.
+Among the four different methods which I have
+given, the student can make his own selection. For myself,
+I prefer the last two mentioned.</p>
+
+<p>There can be no definite rule given for the lights and
+shadows in the backgrounds, as every portrait will need a
+characteristic background adapted to the subject. There
+should always be a nice disposition of light and shade, the
+light coming against the dark side of the face and the dark
+against the light side, and generally a cast shadow. What
+this is may be learned by setting a cast (or any other object)
+near the wall, letting the light strike it at an angle of
+90 degrees, and noticing the size and position of the shadow
+thrown on the wall. The cast shadow in your background
+must not be too near the head, as simplicity should be one
+of the principles of the background, and this can only be
+attained by breadth of light and shade. The background
+is of secondary importance, and should not intrude itself on
+the portrait in its effect of lines or light and shade. Backgrounds
+for half or full length figures need especial study
+in their effect of lines, and one who intends to succeed in
+making them properly should study linear composition in<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>
+Burnet's essay on Composition,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> especially the following
+passages. "Composition is the art of arranging figures
+or objects so as to adapt them to any particular subject.
+In composition four requisites are necessary&mdash;that the story
+be well told, that it possess a good general form, that it be
+so arranged as to be capable of receiving a proper effect of
+light and shade, and that it be susceptible of an agreeable
+disposition of color. The form of a composition is best
+suggested by the subject or design, as the fitness of the
+adaptation ought to appear to emanate from the circumstances
+themselves; hence the variety of compositions.</p>
+
+<p>"To secure a good general form in composition, it is necessary
+that it should be as simple as possible. Whether
+this is to be produced by a breadth of light and shade,
+which is often the case with Rembrandt, even on a most
+complicated outline, or by the simple arrangement of color,
+as we often find in Titian, or by the construction of the
+group, evident in many of Raphael's works, must depend
+upon the taste of the artist. It is sufficient to direct the
+younger students to this particular, their minds being generally
+carried away by notions of variety and contrasts.</p>
+
+<p>"In giving a few examples of composition, I have confined
+myself to the four simple and principal forms, not
+only from their being most palpable, but also from their
+possessing a decided character, which is at all times desirable.<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>
+To those who imagine that such rules tend to fetter
+genius, I shall merely quote Sir Joshua Reynolds, whose
+works, if properly understood, render all other writings on
+the subject of painting superfluous: 'It must of necessity
+be that even works of genius, like every other effect, as
+they must have their causes, must likewise have their rules.
+It cannot be by chance that excellencies are produced with
+any constancy or any certainty, for this is not the nature of
+chance; but the rules by which men of extraordinary
+points, and such as are called men of genius, work, are
+either such as they discover by their own peculiar observations,
+or are of such nice texture as not easily to admit being
+expressed in words; especially as artists are not very
+frequently skillful in that mode of communicating ideas.
+Unsubstantial, however, as these rules may seem, and difficult
+as it may be to convey them in writing, they are still
+seen and felt in the mind of the artist, and he works from
+them with as much certainty as if they were embodied, as
+I may say, upon paper. It is true these refined principles
+cannot be always palpable, like the more gross rules of art,
+yet it does not follow but that the mind may be put in
+such a train that it shall perceive, by a kind of scientific
+sense, that propriety which words, particularly words
+of unpractised writers such as we are, can but very feebly
+suggest.' (Sixth Discourse)."</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Essays on Art, by John Burnet, New York, E. L. Wilson.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+<h2><a name="FIRST_METHOD_OF_MAKING_THE_BACKGROUND_STUMP" id="FIRST_METHOD_OF_MAKING_THE_BACKGROUND_STUMP"></a>FIRST METHOD OF MAKING THE BACKGROUND&mdash;STUMP EFFECT.</h2>
+
+
+<p>To produce the stump effect, rub the chamois block in
+the box of crayon sauce, and then with the large grey
+paper stump commence by putting in the darkest parts and
+the cast shadow. Use the broad end of the stump, moving
+it over the surface of the paper with an even and uniform
+pressure, so that you will not make any dark spots. Make
+broad lines and have them cross each other so as to form
+diamond shaped spaces, using considerable care and a very
+light touch in the lighter places. Finish with the large
+rubber eraser, cutting it so that it will make white lines
+about the same width as the black lines made with the
+stump. Have these light lines run into the dark ones in
+some places, and use the rubber so as to produce a dashing
+effect.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p>
+<h2><a name="SECOND_METHOD_OF_MAKING_THE_BACKGROUND" id="SECOND_METHOD_OF_MAKING_THE_BACKGROUND"></a>SECOND METHOD OF MAKING THE BACKGROUND.</h2>
+
+
+<p>Take a handful of cotton batting, rub it in the box of
+crayon sauce, and then on a piece of paper before applying
+it to the crayon paper to make the background, being careful
+to avoid rubbing harder in some places than others, as
+dark spots are likely to be caused in that way. Commence
+by rubbing in close to the face and work out towards the
+edge of the paper. Let the darkest part be closest to the
+face, shading out in the form of a circle about six or eight
+inches from the face, according to the subject, the upper
+line of the arc coming a little above the head. Then
+make the cast shadow and finish with the large rubber
+eraser, putting the lights, or cloud effect, as it is called, in
+the background. When doing this, place the strainer high
+enough on the easel to bring the centre of the picture on a
+level with your eyes, then standing in front of it and about
+six feet off, decide upon your plan of light and shade.
+After you have put in the first of the lights, step back to
+the former position, and see if it gives the proper effect.
+Continue this method of working until the background is
+entirely completed.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p>
+<h2><a name="THIRD_METHOD_OF_MAKING_THE_BACKGROUND_LINE_EFFECT" id="THIRD_METHOD_OF_MAKING_THE_BACKGROUND_LINE_EFFECT"></a>THIRD METHOD OF MAKING THE BACKGROUND&mdash;LINE EFFECT.</h2>
+
+
+<p>With the cotton and crayon sauce as in the preceding
+method, put in the dark places and cast shadow, but not
+as dark as you want them when finished; then with the
+crayon point No. 2 put in three sets of lines thus:&mdash;</p>
+
+<p class="figcenter" style="width: 600px;">
+<a name="bg_line_effect" id="bg_line_effect"></a>
+<img src="images/image067.png" width="600" height="510" alt="BACKGROUND. LINE EFFECT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="BACKGROUND. LINE EFFECT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">BACKGROUND. LINE EFFECT.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>Do not carry out the lines as far as the background will extend<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>
+when finished. The lines should be one-quarter of an
+inch apart in life-size portraits, and a little closer in smaller
+sizes. As a rule the lines are a little further apart in the
+background than in the face. These lines need not be
+horizontal, crossed by oblique ones at obtuse angles, but
+they can be curved lines, if desired, provided they cross
+each other so as to leave diamond shaped spaces. After the
+lines are in rub a piece of clean cotton over them all, using
+pressure enough to subdue them to the degree of indistinctness
+desired; then finish with the large eraser and crayon
+point No. 2, putting in the cloud effect. Such lines as
+show too prominently you subdue with the nigrivorine
+eraser. If there are any light places, make them dark
+with the crayon.</p>
+
+<p>The background should be very indistinct on the edges,
+and be vignetted in the shape of an oblong, having some
+very light clouds above and on either side of the head.
+Let there be a nice contrast between the face and the
+background, having light come against dark and dark
+against light; that is, when one side of the face is
+dark and one side light, have the background light against
+the dark side, and dark against the light side; when light
+and shade are about equal on both sides of the face,
+have the background about the same shade on both sides,
+without too decided a cast shadow. If you have a subject<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>
+that has gray hair, have the background darker than it
+would be otherwise. The background should never be
+darker at any place than the shadows in the face, and close
+to the face it must be a shade between the light and half
+shadows. Never resort to the practice of leaving the background
+white, as this will only give a hard, stiff appearance.
+Clean off the outside edges of the background with
+a clean piece of cotton and the pumice stone.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span></p>
+<h2><a name="FOURTH_METHOD_OF_MAKING_THE_BACKGROUND_STIPPLE_EFFECT" id="FOURTH_METHOD_OF_MAKING_THE_BACKGROUND_STIPPLE_EFFECT"></a>FOURTH METHOD OF MAKING THE BACKGROUND&mdash;STIPPLE EFFECT.</h2>
+
+
+<p>Lay a piece of manilla paper on the table about twelve
+inches larger on each edge than your strainer, placing the
+strainer on it face up; rub a handful of cotton batting first
+in the crayon sauce and then on the manilla paper to remove
+any foreign substance. Then apply the cotton with
+a circular motion to the crayon paper to make the background
+desired. Next sprinkle the pulverized pumice
+stone over the entire background, and go over this with
+the fingers in a circular movement, using them flat from
+the second joint to the ends; then lift the strainer up, and,
+resting it on the edge, jar off all the pumice stone, and
+when this is done, lay it down again and rub it off with a
+clean piece of cotton. Now rub the fingers in the crayon
+sauce, keeping them flat so that it will adhere evenly to
+them, and go over the background lightly as when rubbing
+in the pumice stone and you will produce a nice stipple
+effect. Finally, place the strainer on the easel, and finish
+according to the directions given for finishing crayons made
+on bromide enlargements.</p>
+
+<p>Of course it will need considerable experience before you<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>
+can succeed in doing this perfectly, but patience and perseverance
+will ultimately accomplish the desired end.
+There are two matters of importance to be borne in mind
+in making these backgrounds&mdash;first, do not have any small,
+hard pieces of crayon on the cotton when you rub it on the
+paper, and second, use the fingers in as flat a position as
+possible, for if you do not have them flat down on the
+paper you are likely to make dark spots in the background.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p>
+<h2><a name="FACE_LINE_EFFECT" id="FACE_LINE_EFFECT"></a>FACE&mdash;LINE EFFECT.</h2>
+
+
+<p class="figcenter" style="width: 500px;">
+<a name="line_face" id="line_face"></a>
+<img src="images/image072.png" width="500" height="413" alt="LINE EFFECT FOR FACE.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="LINE EFFECT FOR FACE.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">LINE EFFECT FOR FACE.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>Commence on the hair with the crayon point No. 2, and
+put in all the shadows and half-shadows, carefully preserving
+the lines of direction, but avoid working over the
+lights more than necessary; then with the crayon point
+No. 1 strengthen all the shadows about the eyebrows, the
+eyes, the mouth, the chin and the ears. Next put the lines
+in the face. The following illustration shows the lines<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>
+before they are rubbed. It will be well to remember that
+only two sets of lines are used in the face, as shown in the
+illustration, and the same number in the dress, while there
+are three sets required in the background. The lines in
+the face should be a little closer than those in the background,
+while those in the dress are about the same as
+those in the background.</p>
+
+<p>In the effect of the lines in the face lie the chief merit
+and beauty of this method of crayon work. When properly
+drawn, the lines represent and give the grain of the
+flesh in a very beautiful broken effect. They are drawn so
+as to leave spaces shaped like diamonds, but in the finishing
+should be so treated as to lose their regularity, and to
+have the effect of "broken diamonds." If you will examine
+the back of the wrist joint when your hand is bent
+slightly backward, you will see more clearly what is meant
+by the term "broken diamonds" in the slight ridges which
+show the grain of the flesh. Begin with the forehead,
+using the crayon point No. 1, and put in one set of lines
+straight across, but curving downwards as the forehead
+commences to round off towards the hair at the sides; then
+one more set of lines in the direction that will produce the
+diamond spaces, continuing these two sets of lines throughout
+the face. These lines intersecting at the proper angles
+will indicate the grain of the flesh, if the line of direction<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>
+be carefully followed. Remembering that the face is not
+a flat surface, make the lines darker in the shadows and
+lighter as they approach the lights. The high lights on the
+forehead, the nose, the highest point of the chin, and around
+the mouth, should, however, have no lines over them.</p>
+
+<p>Having put in these lines take a small handful of cotton,
+and rub the hair and face over both the high lights and
+shadows, the motion following the line of direction; that
+is, being straight across the forehead, curving towards the
+hair at the sides, and circular on the cheeks. Care should
+be exercised not to rub too hard, it being a common fault
+of the beginner to rub the paper too much, and produce
+a dirty effect. The lines should be merely rubbed until
+they are somewhat blurred and indistinct. Remember that
+the crayon portrait is made on the surface of the paper, and
+not rubbed into it. After it has thus been treated with the
+cotton, go over the shadows with the crayon point No. 1,
+and rub again with the cotton.</p>
+
+<p>The face of the crayon will now be about three shades
+darker in the lights than it should be when finished, and
+not quite dark enough in the shadows. Finish it with the
+No. 0 crayon and nigrivorine eraser, using the latter wherever
+a lighter effect is required; also break up the regularity
+of the diamond spaces, and whenever a line shows too
+prominently subdue it with the eraser.<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p>
+
+<p>If you would succeed in making good crayon portraits,
+it will be necessary for you to cultivate a light touch with
+the crayon in finishing.</p>
+
+<p>The eraser is one of the principal instruments employed in
+making crayon portraits, and is used the same as if it were
+a crayon pencil, that is, on that principle, the difference being
+that you make white lines with it instead of black ones.
+Keep the eraser to a sharp point in the following manner:
+take a piece of emery paper about three inches square, and
+place it in the left hand between the index and second fingers,
+holding the fingers about half an inch apart, and
+bending the paper to fit between them; then rub the eraser
+in the crease thus formed, holding it at an acute angle.
+Sometimes it is necessary to sharpen the eraser with a
+knife or a pair of scissors before rubbing it on the emery
+paper. In working with the eraser on the crayon paper
+do not rub hard enough to remove all the crayon from the
+surface of the paper, except in producing the high lights
+and the white of drapery. Notice in particular in finishing
+the hair that where it touches the forehead there are no
+lines, as the light and shade should blend together so nicely
+as to leave no decided line between them.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+<h2><a name="DRESS_LINE_EFFECT" id="DRESS_LINE_EFFECT"></a>DRESS&mdash;LINE EFFECT.</h2>
+
+
+<p class="figcenter" style="width: 500px;">
+<a name="line_dress" id="line_dress"></a>
+<img src="images/image076.png" width="500" height="341" alt="LINE EFFECT FOR DRESS.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="LINE EFFECT FOR DRESS.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">LINE EFFECT FOR DRESS.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>The above illustration represents the effect of the lines
+in the dress. In putting them in let every fold, sleeve
+and lapel have lines of its own, that is, lines differing in
+direction so as to discriminate it from the other parts of
+the clothing. These distinctive lines will lose themselves
+in the wrinkles, in shadows, and in the next fold, where
+the lines will have a different direction. The illustration<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>
+is very crude, as it shows the lines before they are rubbed
+with cotton; after that process they have quite a different
+appearance. In men's clothing the lines may be drawn
+a little farther apart than in the treatment of the
+finer texture of ladies' garments. After you have put in
+the lines with the crayon point No. 2, go over them with a
+piece of cotton previously rubbed in the crayon sauce, and
+then complete this part of the work by the use of a dull
+eraser for the smaller lights, and the chamois for the broad
+lights.</p>
+
+<p>The crayon is now in good condition for finishing,
+which you will proceed to do by the use of No. 0 Conte
+crayon and the nigrivorine eraser, softening the lights with
+the former and the shadows with the latter, until you have
+the whole portrait subdued, and no decided lines of light
+and shade. Of course throughout these processes you
+must pay close attention to all the characteristic points
+in the likeness, so that the crayon will be a true and life-like
+reproduction. Do not sit too close to the crayon in
+finishing; if you do, you will be disappointed when you
+come to look at it from a slight distance, and will not find
+at all that enchantment which distance is said to lend to
+the view, as the crayon will disclose a spotty effect, and too
+great a contrast between the lights and shadows.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p>
+<h2><a name="BROMIDE_CRAYONS" id="BROMIDE_CRAYONS"></a>BROMIDE CRAYONS.</h2>
+
+
+<p>In the bromide enlargement, while the paper has to undergo
+all the different manipulations of development, fixing
+and washing, that the platinum and silver enlargements do,
+yet the gelatin is not removed, and, when dry, remains as a
+strong sizing to the surface of the paper&mdash;in fact, so strong,
+that in some of the different kinds of bromide paper the
+surface is very nearly as hard as glass, and, therefore, the
+crayon cannot be used upon it with good results until it has
+received a special treatment, as the crayon would only make
+a black scratchy mark.</p>
+
+<p>It has been said that the bromide paper and enlargement
+were entirely different from the platinum or silver enlargement
+and the crayon paper. While there is not as much
+difference between the bromide and other enlargements as
+there is between the former and the crayon paper, there
+should be this difference: the silver or platinum enlargement
+should only be printed strong enough to give the
+form and the larger details in the negative, while the
+bromide enlargement must be as nearly a perfect photograph
+as can be produced from the negative.</p>
+<p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p>
+
+<p class="figcenter" style="width: 494px;">
+<a name="bromide" id="bromide"></a>
+<img src="images/image079.jpg" width="494" height="600" alt="FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE&mdash;STIPPLE EFFECT
+THROUGHOUT. BY J. A. BARHYDT." title="FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE&mdash;STIPPLE EFFECT
+THROUGHOUT. BY J. A. BARHYDT." />
+<span class="caption">FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE&mdash;STIPPLE EFFECT
+THROUGHOUT. BY J. A. BARHYDT.</span>
+</p>
+
+<p>From the fact that, on account of the difference in the<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span>
+surface of the paper, there cannot be as much crayon put
+on the bromide enlargement as on the other kinds of paper,
+and that, therefore, it cannot be strengthened to the same
+degree in the shadows without spoiling the nice transparent
+effect that a bromide should have there, it follows that the
+best bromide crayons are those on which the least crayon is
+used to produce the desired effect. The bromide paper, on
+account of the gelatin surface, will not take the crayon
+from the stump as readily as the other kinds of paper; but
+after the surface has been treated with the pumice stone
+this objection is removed, and the paper can be worked
+on with the stump readily. I can say from my own experience,
+that for producing a crayon over a photographic
+enlargement with the stipple effect, it has no equal in the
+beauty of finish and rapidity of execution.</p>
+
+<p>The illustration facing this <a href="#bromide">page</a> was made from a crayon
+executed over a bromide enlargement from the original
+negative. Better results can always be reached in a bromide
+enlargement when it is thus made from the original
+negative. The student will notice in particular the stipple
+effect in the reproduction.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span></p>
+<h2><a name="FINISHING_BROMIDE_ENLARGEMENTS" id="FINISHING_BROMIDE_ENLARGEMENTS"></a>FINISHING BROMIDE ENLARGEMENTS.</h2>
+
+
+<p>Examine the enlargement mounted on the strainer, looking
+at it from the side, to learn if there is any starch
+on the surface of the paper before commencing work on
+it. If there is any, carefully wash it off with a sponge and
+some clean water, and then set the enlargement aside until
+it has thoroughly dried. Then lay it down on the table
+with a piece of manilla paper under the strainer about 12
+inches longer on each edge than the latter; take a handful
+of cotton, first rubbing it thoroughly in the crayon sauce,
+then on the manilla paper, and finally going over the surface
+of the enlargement with it in a circular motion. Then
+sprinkle pumice stone over the portrait, and using the ends
+of the fingers flat, rub it over the entire surface of the
+paper. This treatment cuts through the gelatin surface
+and prepares it for the stipple effect. Now stand the
+strainer on its edge and jar the pumice stone off, after
+which lay it down on the table, and with a piece of clean
+cotton lightly brush off the surface; then, having rubbed
+the finger ends in the crayon sauce, go over the entire surface
+of the enlargement, holding them flat, and you will
+produce a fine stipple effect.</p>
+
+<p>If the shadows need to be darker, use a little more<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>
+crayon on the fingers; also put the cast shadow in the
+background, applying the crayon with the fingers.</p>
+
+<p>Before proceeding further it will be well to note that the
+crayon is entirely on the gelatin surface, and that the photographic
+image is on this surface also, and not on the
+paper itself; therefore, under the image and the gelatin
+you have the pure white paper. I call attention to this
+in order that you may work with a better comprehension
+of the materials you are using.</p>
+
+<p>You now have four surfaces. First, the muslin cloth
+of the strainer; second, the starch; third, the white paper;
+fourth, the gelatin.</p>
+
+<p>Knowing that the gelatin has a hard surface, you are
+prepared to learn that the crayon will come off from the
+bromide much more easily than from the other kinds of
+paper. These had but three surfaces, while the bromide
+has a fourth&mdash;a very hard one&mdash;between the crayon and the
+paper, and on account of its hardness it will need different
+treatment in its manipulation. Therefore you use the fingers
+in applying the crayon sauce, and, when it is necessary
+to make a place light, you do so with the cotton, chamois
+or eraser. Should you find it necessary to make a place
+white where it is dark, you can remove the photograph
+entirely, as this is on the gelatin, scraping it off down to
+the white paper with a sharp knife.<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p>
+
+<p>Resuming the process of finishing, place the enlargement
+on the easel and put in the cloud effect with the large eraser,
+then lay it on the table again, and clean it off about
+four inches from the edge all around with pumice
+stone and a fresh piece of cotton where you have rubbed
+with the eraser, and blend the background into this four
+inch space. Return the enlargement to the easel again, and
+with the broad eraser clean up the lights throughout, and
+with the cotton and pumice stone blend them into the shadows;
+then with the peerless stump, crayon sauce and fingers
+strengthen the larger shadows, using the nigrivorine eraser
+when necessary to clean up the lights, and the tortillon
+stump for the work in the smaller shadows, if it is required
+to make them darker. Now with the No. 0 crayon finish
+the face by completing the stipple effect in the patches of
+light and shade. You will have a good guide in the background
+for finishing and giving the stipple effect, as there
+you will have this stipple effect quite perfect, especially in
+the light places. This finishing with the No. 0 crayon is
+the nicest part of the work, and when doing it you must
+keep in mind that you are putting in the stipple effect, and
+that alone; that is, the portrait at this stage is supposed to
+be very nearly right in light and shade and expression, and
+it should not be necessary to strengthen it in the shadows
+by using the No. 0 crayon. You are to cut up or<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>
+divide the portrait into small black and white spots, but do
+not take out white spots with the No. 0 crayon that are
+larger than the white spots desired in the stipple effect;
+these light places must be cut into smaller light spots. If
+you should take out these white spots (and this is an error
+you must be very careful to avoid), you would produce an
+effect of large dark and white spots that would be entirely
+wrong, the real process being to divide large white and
+dark spots into smaller ones of the same color.</p>
+
+<p>This stipple effect should be worked all over the face
+with the exception of the highest lights, and even these will
+very often need to be worked over except at the single
+points of the very highest lights. In this work you now
+have an opportunity to demonstrate the theory of contrast.
+Sometimes the enlargement is too dark in the shadows, and
+although you require to have them lighter you have already
+removed all the crayon from the surface, and it still
+remains too dark. The crayon pencil is many shades
+darker and blacker than the shadows, yet you can by its
+use make them lighter by putting in the stipple effect, as
+the dark touches of the pencil in their contrast with the
+shadow color under them cause them to appear lighter. This
+is a very essential principle to remember in crayon portrait
+work: that the effect of dark against light is to make the
+light appear lighter, and the dark darker. After the face<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span>
+and hair are completed as above, then finish the clothes with
+the peerless stump, eraser and fingers. If there are any
+very dark strong shadows&mdash;for instance, under the collar
+or around the neck&mdash;put them in with the velours crayon
+and subdue them with the fingers. When at work on the
+clothes at the bottom of the portrait do not finish straight
+across, but in a circular way. Next taking up the background
+you will discover that there are some large patches
+of light and shade that must be changed and made the required
+color to correspond with the adjoining surface; lean
+back as far as possible in your chair, and join these places
+together with the pencil and eraser; then in the same
+position finish the face by removing any light or dark places,
+strengthening the eyes, nose, mouth, and any point of the
+likeness requiring a final touch. Remove with the point
+of your knife any small black spots such as sometimes
+show in the photograph, and then with a fresh piece of
+cotton and pumice stone clean off the edges of the crayon
+all around.</p>
+
+<p>Before regarding the picture as quite complete, examine
+it by holding it at right angles to the light, to see if there
+are not some marks of the crayon pencil that show too
+prominently. These can be subdued with the ends of the
+fingers. Sometimes in finishing with the No. 0 crayon the
+paper will seem to be gritty so that you can hardly work<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>
+on it. The difficulty is that some of the pumice stone has
+adhered to the surface of the paper. This can be disposed
+of by rubbing it with the fingers. It should be remembered
+that the pumice stone must be entirely removed from
+the whole surface of the paper, as otherwise it will settle in
+the crayon, and give a dirty gray effect. When, as sometimes
+happens in commencing the portrait, dark or white
+spots or streaks show themselves, do not pay any attention
+to them until you have entirely finished the crayon, then
+if they are dark, make them the proper shade with the
+eraser, and if light, with the crayon.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
+<h2><a name="MONOCHROMESB" id="MONOCHROMESB"></a>MONOCHROMES.<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a></h2>
+
+
+<p>These are portraits in one color on porcelain, glass or
+any hard material that has first been coated with gelatin
+and then photographed on. First treat the whole surface
+with pumice stone as directed for the bromide paper,
+afterwards go over it with the crayon and cotton. Then put
+in the cloud effect in the background, and clean off the lights
+in the face, hair, and clothes with the eraser; next put in
+the half-shadows with the peerless stump; then with a solution
+of India ink darken the stronger shadows throughout
+the portrait&mdash;in the eyes, nose, mouth and eyebrows,
+and finally in the hair. Finish the face with the No. 0
+crayon and the 4 H. Faber's lead pencil according to directions
+given for finishing bromide enlargements. The Faber
+pencil is used almost exclusively throughout the face.
+Very nice effects of strong light can be made on porcelain
+by scraping through the gelatin surface with the knife.
+This process is specially adapted to making pictures of
+smaller size, say 10×12, or 11×14 inches, as it produces
+a very soft and delicate effect.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> For photographic process, see the American Annual of Photography and Photographic
+Times Almanac, 1888.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p>
+<h2><a name="VALUES" id="VALUES"></a>VALUES.</h2>
+
+
+<p>The matter of values enters into the essential quality of
+every work of art, and especially of a portrait. It is the
+truth of their rendering that will give a faithful likeness.
+By the term values is meant the relations of light and
+shade to each other. This subject has been so admirably
+treated by John Burnet in his essay entitled "Practical
+Hints on Light and Shade,"<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> that I give his observations
+on this point.</p>
+
+<p>"Before proceeding to investigate light and shade in
+their various intricate relations, it may be proper to notice
+a few of the more palpable and self-evident combinations;
+and for the better comprehending of which I shall divide
+them into five parts, viz.: Light, half-light, middle tint,
+half-dark and dark. When a picture is chiefly composed
+of light and half-light, the darks will have more force and
+point, but without the help of strong color to give it solidity
+it will be apt to look feeble, and when a picture is composed
+mainly of dark and half-dark the lights will be more
+brilliant; but they will be apt to look spotty for want of
+half-light to spread and connect them, and the piece be in<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span>
+danger of becoming black and heavy. And when a picture
+is composed chiefly of middle tint, the dark and light
+portions have a more equal chance of coming into notice,
+but the general effect is in danger of becoming common
+and insipid. Light and shade are capable of producing
+many results, but the three principal are relief, harmony
+and breadth. By the first the artist is enabled to give his
+work the distinctness and solidity of nature; the second is
+the result of a union and cement of one part with another;
+and the third, a general breadth, is the necessary attendant
+on extent and magnitude. A judicious management of
+these three properties is to be found in the best pictures of
+the Italian, Venetian and Flemish Schools, and ought to
+employ the most attentive examination of the student, for
+by giving too much relief he will produce a dry hard effect,
+by too much softness and blending of the parts, wooliness
+and insipidity, and in a desire to produce breadth of effect
+he may produce flatness."</p>
+
+<p>The student should make a careful study of the values,
+as upon these will depend the entire effect of the portrait
+and its fidelity as a likeness; and the absence of these
+qualities of rendering light and shade are one of the marked
+features of the work of amateurs, as they are apt to make
+their shadows too dark and their lights too light. You
+should compare the portrait with the photograph you are<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span>
+working from, and preserve the same contrasts between the
+lights and shadows in order to produce satisfactory
+results. The best way of examining your work is by
+the use of a mirror. To the student the mirror is his
+best critic. It is before this silent observer that he
+submits his work with the certainty of receiving an
+honest criticism. At every step of your progress look at
+your work in a good mirror, as here it is changed about,
+the left side being the right side, and no error will escape
+detection. Sometimes you will see that what appeared
+true was in reality false, what seemed graceful in contour
+was distorted; here an eye which you thought was looking
+at you quite straight now mocks you from the glass in
+manifest obliquity; the mouth, which you thought had a
+pleasant expression, now looks as disdainful as can be.
+And so all through your work you will be startled; you
+will doubt the mirror. Doubt it not; your work is false.
+If you will be convinced show it to some competent artist,
+and he will confirm the judgment of the impartial mirror.
+Experience will soon teach you to put such reliance on its
+never capricious council that you will follow its suggestions
+implicitly, and, when your work is altered, the result will
+satisfy you invariably, that, as the proverb says of two
+heads, so two images are better than one. When you have
+come to this conclusion there is not a beauty of eighteen<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span>
+who will consult her glass (though it is true for a somewhat
+lighter purpose,) more eagerly, more devoutly, more
+frequently, or finally, we hope, with more triumphant satisfaction
+than will you.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> Essays on Art by John Burnet, New York, Edward L. Wilson.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span></p>
+<h2><a name="STUDIO" id="STUDIO"></a>STUDIO.</h2>
+
+
+<p>The amateur is not to consider the selection of his studio
+or work-room of minor importance; the perspective, coloring,
+and the effect of the portrait will all depend, in a great
+measure, upon the situation and dimensions of the studio.
+It may be said in a general way that the larger the apartment
+the better. To secure the effect which it is essential
+to produce, there should be space enough left behind the
+artist to permit him to step back from six to ten or
+twelve feet to accurately view and see the effect of the portrait.
+I cannot urge too strongly upon the amateur the
+usefulness of frequently viewing his work from a distance.
+I would gladly save him the disappointment and chagrin
+which I have myself experienced, when having neglected
+this precaution, I have quite finished a portrait only to find
+it thoroughly unsatisfactory when looked at from a greater
+distance than that at which I had worked.</p>
+
+<p>You should choose a room with a north light if possible;
+if that is not available then one with a south light, and the
+room should be as near the top of the house as possible.
+Let the light be arranged so as to strike the easel at an
+angle of 90 degrees, and if it is a side light darken the<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
+lower half of the window. Do not have the side walls
+white, they should be a neutral shade; reddish is the best.
+For work with water colors or India ink you need a stand,
+and be sure and set it so that the light will be at your left
+when you work. Keep the studio as free from dust as
+possible, and when you have finished working for the day
+wash your brushes and place the corks in the water color
+bottles, so as to exclude the dust from them. For crayon
+work also set the easel so that the light is at the left hand.</p>
+
+<p>A word in regard to selecting materials. I have already
+spoken in regard to the selection of photographs for
+coloring. As to brushes&mdash;camel's hair will cost only about
+a third as much as sable, and will answer every purpose
+for beginners; the fine sable should be procured after the
+pupil has advanced sufficiently. In choosing a brush for
+water colors, dip it in a cup of water and draw it over the
+edge of the cup; if it has a little spring to it, and comes to
+a point readily without any of the hair straggling, it is all
+right; if not, reject it. Winsor and Newton's Chinese
+White is the best white paint. For mixing the colors
+you can get a slant with eight divisions, or a nest of
+saucers. In selecting glass for mounting pictures choose
+that which is free from blisters.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p>
+<h2><a name="FRAMING" id="FRAMING"></a>FRAMING.</h2>
+
+
+<p>The following directions in regard to framing will, I
+hope, be found advantageous. When framing with a passepartout
+mat, always use</p>
+
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="framing">
+<tr><td align="center">For</td><td align="right"> a 16×20</td><td align="center"> portrait</td><td align="center"> an</td><td align="right"> 18×22</td><td align="center"> frame,</td></tr>
+<tr><td align="center"> "</td><td align="right">18×22</td><td align="center">"</td><td align="center">"</td><td align="right">20×24</td><td align="center">"</td></tr>
+<tr><td align="center"> "</td><td align="right">20×24</td><td align="center">"</td><td align="center">"</td><td align="right">22×26</td><td align="center">"</td></tr>
+<tr><td align="center"> "</td><td align="right">24×29</td><td align="center">"</td><td align="center">"</td><td align="right">25×30</td><td align="center">"</td></tr>
+</table></div>
+
+<p>I make a life-size portrait 25×30 on a 24×29 strainer.
+The reason for using a larger frame than strainer is this:
+that it invariably happens that the head of the portrait
+will not come in exactly the proper place in the opening of
+the passepartout, and by having the frame two inches
+larger each way you will be able to bring the head wherever
+desired in this opening. When placing the picture in
+the frame, lay the latter face down on a table and put in
+the glass, which should have been perfectly cleaned; lay
+in the passepartout and fasten it with small brads. Then
+lay the crayon down on the table face up and turn the
+frame over on it, and after you have it in the proper
+place, draw the picture and frame partially over the edge
+of the table, and from underneath mark the back of the<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span>
+passepartout where the edges of the picture come; then
+turn the frame and picture over so that it shall be face
+down. Now cut eight strips of old tin-type metal one-quarter
+of an inch wide and three inches long, making
+holes at each end of them for the tacks, and with these
+strips fasten the picture in its place by tacking one end
+of each to the strainer and the other end to the frame.
+Also cut a piece of heavy manilla paper the size of the
+frame, lay it on a board, dampen it with a sponge, apply
+starch paste around each side and the ends for a space of
+six inches, and lay it over the back of the picture and
+frame, pressing it down on the latter; then set it away to
+dry. This will make a neat smooth back which will exclude
+moth and dust from the portrait.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p>
+<h2><a name="PASSEPARTOUT_MOUNTING" id="PASSEPARTOUT_MOUNTING"></a>PASSEPARTOUT MOUNTING.</h2>
+
+
+<p>The following method will be found useful, especially if
+you want to exhibit a crayon without the expense of framing
+it. Lay on the mounting board a piece of heavy
+manilla paper somewhat larger than the picture, then
+put the crayon on this face up, next the passepartout, and
+last the clean glass. Mark the size of this on the paper,
+and then, having removed the glass, crayon and passepartout,
+cut the paper enough larger than the marks to
+allow it to come up one inch all around over the edges of
+the glass; next dampen the paper, and apply the starch
+paste to its edges about six inches all around, then lay the
+crayon, passepartout and glass back where they were on the
+paper, and bring the latter up, lapping it over the face of
+the glass; cut the corners out so as to bring them over
+properly; rub the edges down thoroughly on the glass, and
+with a ruler and knife trim off the paper, allowing one-quarter
+of an inch margin; then set away to dry. This
+will put the crayon in good condition to be exhibited, and
+will thoroughly protect it.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2 class="center sans"><big>Transparent Liquid Water Colors<br />
+for Coloring Photographs.</big></h2>
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span></p>
+<p class="figcenter" style="width: 600px;">
+<img src="images/image101.png" width="600" height="214" alt="" title="" />
+</p>
+
+
+
+<h2><a name="TRANSPARENT_LIQUID_WATER_COLORS" id="TRANSPARENT_LIQUID_WATER_COLORS"></a>TRANSPARENT LIQUID WATER COLORS<br />
+FOR COLORING PHOTOGRAPHS</h2>
+
+
+<p><i>Materials Required in Their Use.</i></p>
+
+<p style="margin-left: 2em;">
+A good photograph, an engraving or photogravure mounted on card-board,<br />
+Camel's hair brushes, Nos. 3 and 5,<br />
+Sheet of blotting-paper,<br />
+Small sponge,<br />
+Clean white cloth,<br />
+Cake of Chinese white, Winsor and Newton's water color,<br />
+A divided slant or nest of small dishes for holding the color when mixed,<br />
+Box transparent liquid water colors,<br />
+<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>Stick of India ink,<br />
+Box pulverized pumice stone,<br />
+Two tumblers for water.<br />
+</p>
+
+<p>It has passed into a proverb that he is a bad workman
+who complains of his tools. It is certain that good ones
+simplify work and give better results. One of the most
+important things for successful art-work is to have at hand
+the proper materials and good instruments. In their selection
+do not follow a penny wise and pound foolish policy, but
+get the best you can; and these you will often find not too
+good.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span></p>
+<h2><a name="THEORY_OF_COLOR" id="THEORY_OF_COLOR"></a>THEORY OF COLOR.</h2>
+
+
+<p>The principles connected with coloring should be understood
+if one desires to produce the most pleasing and harmonious
+effects in painting. The three colors, red, yellow,
+and blue, with the white of the paper, are equal in theory
+to all the requirements of art in its true relation to color.
+Red, yellow and blue are called primary colors; that is, we
+cannot produce these colors from the combination of any
+others. Orange, purple and green are called secondary
+colors, and are produced by the combination of the primary
+colors. By the mixture of red and yellow we obtain
+orange, from red and blue, purple, from yellow and blue,
+green. The tertiary colors&mdash;broken green, gray and
+brown&mdash;are produced by the mixture of the secondary
+colors. From orange and purple we obtain brown, from
+orange and green, broken green, and from purple and
+green, gray. The three primary colors must always be
+present in a picture to produce harmony. Colors are divided
+into what are called warm and cold colors, the yellow
+and red being termed warm, and the blue cold. Yellow
+and red produce light and warmth, and it is impossible to
+produce coolness without the use of blue. In painting we<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span>
+use the three terms, light, shade and color, because they
+best express the qualities of color. Light is expressed by
+yellow, shade by blue, and color by red. While red is
+particularly designated as color, we must not forget the
+claims of yellow and blue, as they, together with red, complete
+the primary scale of colors. It is by placing these
+different colors in juxtaposition that we produce the proper
+qualities existing in each of the other colors. It is impossible
+to produce the effect of warmth by red and yellow unless
+we use the blue in connection with them. It is this
+filling up, or completing the primary scale of colors, that
+gives the term complementary, so often employed in speaking
+of colors. Thus red is said to be complementary to
+green, as green contains the other two colors of the primary
+scale&mdash;blue and yellow. Blue is complementary to orange,
+as orange contains red and yellow. Yellow is complementary
+to purple, as purple contains blue and red. The
+principle of using the complementary color is of the utmost
+importance in painting, or the use of color by any method,
+and it is on this principle that the harmony of color is
+based. When a painting is produced that has the colors
+red, yellow and blue properly balanced, a pleasing and harmonious
+effect is attained; but if these colors are not used
+in their proper relations, there is a discord, and the work
+is not satisfactory. These rules must be borne in mind by<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span>
+every student in coloring, whether he uses oil or water colors.
+One of the most common errors of amateurs is to
+overlook the red in landscape. Thus trees are too green,
+and the grass is insufferably green: the complementary
+color, red, has been left out.</p>
+
+<p>By the following experiment you may prove that when
+you see one color the eye is in a perfect condition to see
+its complementary color. On a piece of white paper, three
+inches wide and five inches long, draw with a lead pencil
+an oblong, half an inch from the top, one inch wide, and
+two and one-half inches long from right to left, and a similar
+oblong one-half an inch below the one already drawn.
+Then draw a six pointed star (or any other not too large
+figure you desire) in the centre of the upper oblong, and
+paint it with vermilion water color. Now look intently
+at the painted star for thirty seconds, and then look at
+the plain oblong below, and you will observe that the latter
+will gradually assume a very beautiful shade of green,
+the exact complementary color of the vermilion, with the
+figure in white upon it&mdash;unless you should happen to be
+color blind. If that is the case, the experiment will demonstrate
+that fact.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span></p>
+<h2><a name="COLORS" id="COLORS"></a>COLORS.</h2>
+
+
+<p>Transparent water colors are put up in boxes containing
+nine colors, and as you reduce them in the proportion of
+one part of color to eight of water, a single box will last
+a long time. They can be bought of almost any dealer
+in artist's materials, and are designated as Florentine,
+Egyptian, Grecian, and by other names. Care should be
+used in procuring those which are pure and fresh. The
+colors are yellow, blue, rose, violet, magenta, flesh, brown,
+gold and black. The labels on the bottles give directions
+for mixing.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="YELLOW" id="YELLOW"></a>YELLOW.</h2>
+
+
+<p>Yellow is one of the primary colors and one of the most
+useful, as it enters into the coloring of almost every picture.
+Transparent yellow is very brilliant, and can be used with
+any other color. Yellow and red make orange, yellow
+and blue make bright green, yellow and black a dull green.
+In landscapes, yellow is used in the middle distance with<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span>
+blue and rose and magenta. In the foreground it is used
+with blue and black for green, and is especially adapted
+for brilliant touches of foliage, grasses, and light places in
+the ground. In portraits a very little can be used in the
+reflected lights on the faces, and, when mixed with brown,
+for light shades of hair and eyebrows; for light dresses,
+used weak, it makes a very nice cream color. It can also
+be used very weak for laces, the strong lights being afterwards
+touched up with Chinese white, but not when the
+picture is to be mounted on glass. This color will ordinarily
+work nicely and give good results wherever its use
+seems appropriate, but care must always be exercised not to
+use it too strong.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="BLUE" id="BLUE"></a>BLUE.</h2>
+
+
+<p>This is another of the primary colors and a very essential
+one, it being the nearest allied to shade, and although
+not shade itself, no shadows can be produced without it.
+We will find it, therefore, mingling with all the shades of
+nature between the lights and shadows. It would be in
+vain for us to introduce all our warm colors, if the cool
+tints that are produced by blue are wanting; for, without<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span>
+that, the work will appear heavy, as it is the contrast between
+blue and the warm colors that produces a balance
+of color. Blue mixed with yellow makes a very brilliant
+green, with gold a duller green, with magenta a
+purple. In landscapes it is used in skies and the middle
+distances, but not in the foreground, unless mixed with
+yellow. Blue can be mixed with rose or magenta for sunset
+skies. When the horizon is represented a streak of
+blue or rose, or of blue and magenta, will give a very
+pleasing effect. In portraits if you have a light background,
+a thin wash of blue can be used over it. The same
+can also be used for blue eyes and for dresses when they
+are light in the picture, also in all the half-shadows of the
+dresses or draperies without regard to what their other
+color may be.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="ROSE" id="ROSE"></a>ROSE.</h2>
+
+
+<p>This is the nearest approach to red that we have in
+these colors, and as it fills out the scale it is an essential
+one. It is, in fact, a very delicate shade of rose. For
+landscape it is used only in the skies, and then only a<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span>
+little near the horizon for sunset effects. For portraits it is
+used in the drapery for making a very light shade of pink,
+and it can be used generally when you want to make a very
+delicate effect. The photographic print on which it is used
+should not be too dark.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="VIOLET" id="VIOLET"></a>VIOLET.</h2>
+
+
+<p>This is a very strong and brilliant color, and therefore
+needs more than usual care in handling. In landscapes it
+is only used in certain skies near the horizon, and but very
+seldom even then. It is more especially designed for portraits,
+and there particularly in drapery to make very decided
+effects of strong color; but it can only be used when
+the dress or draperies are dark in the photograph.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="MAGENTA" id="MAGENTA"></a>MAGENTA.</h2>
+
+
+<p>This also is a powerful color and must be used carefully.
+It is not adapted to landscapes, but in portraits is used for
+dresses and accessories. If the photograph requires a
+dark dress this color will make it a beautiful shade.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p>
+<h2><a name="FLESH" id="FLESH"></a>FLESH.</h2>
+
+
+<p>This color can be used a very little in the skies of landscapes
+when there is a sunset effect to be represented. In
+portraits it is used to color the faces and hands. After it
+is dry, retouch the cheeks and lips with the same color.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="BROWN" id="BROWN"></a>BROWN.</h2>
+
+
+<p>This color is used in all the shadows. In landscapes,
+in some instances, it serves for use in the middle distance
+and foreground; the light places should be retouched with
+yellow or gold. It is also used for tree trunks, fences,
+and the like. In portraits it serves to color the hair and
+eyes, and appears in the dark shadows of the drapery and
+furniture. If the background is dark, a nice effect is produced
+by tinting it a little with this color.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span></p>
+<h2><a name="BLACK" id="BLACK"></a>BLACK.</h2>
+
+
+<p>In transparent color this has more the effect of a dark
+gray than a brilliant black, such as is produced with body
+colors. When you want a very dark black, it is better to
+use a little India ink with it. It is used in the skies of
+landscapes when you wish a gray effect, or to subdue a too
+strong blue color or red, and in foregrounds for rocks. In
+connection with yellow it will make a sombre green for
+trees, mountains, etc. In portraits it is used for the hair
+and eyes, in the shadows around the mouth, and in drapery
+in connection with the other colors.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="GOLD" id="GOLD"></a>GOLD.</h2>
+
+
+<p>This is a combination of yellow and red, and in general
+can be used wherever either of these colors would
+answer. In landscapes a little can be used in the skies,
+the middle distances, and lights on the ground in the foreground.
+In portraits it is used to color the drapery and
+jewelry.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span></p>
+<h2><a name="INSTRUCTIONS_FOR_USING_LIQUID_WATER_COLORS" id="INSTRUCTIONS_FOR_USING_LIQUID_WATER_COLORS"></a>INSTRUCTIONS FOR USING LIQUID WATER COLORS.</h2>
+
+
+<p>Fill the two tumblers with water, and have all the other
+materials ready and convenient to work with. If you
+have selected a burnished and mounted photograph wet its
+surface with saliva; unburnished photographs, photogravures
+and engravings do not require this treatment, but in
+coloring them it will be necessary to mix a weak solution
+of gum arabic with the colors to prevent their penetrating
+the paper. If printed on too thin a paper the photogravure
+or engraving should be mounted. If it is found
+that the colors "crawl" or spread on the photograph, mix
+a little acetic acid with the colors you are using, and should
+this fail to remove the difficulty, rub a pinch of pumice
+stone over the photograph with the fingers.</p>
+
+<p>If the photograph is a portrait commence with the background,
+washing it all over with a brushful of diluted
+color, being careful not to get any on the face. If the
+background is light, use a weak solution of blue, if dark, a
+brown solution. The majority of backgrounds only need a
+very little tinting&mdash;just sufficient to change the color. For
+the face use flesh color, diluting it to the proper shade,<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span>
+washing it entirely over the face, and with a stronger solution
+of the same color tint the cheeks and lips, giving
+them a little brighter effect than the flesh color. Touch
+up the shadows in the face with the brown, and if there
+are any reflected lights use a very weak solution of the yellow
+color for them; then with some very weak black make
+the shadows around the mouth a little darker; next with a
+solution of blue, also very weak, strengthen the shadows
+in the forehead and around the temples; then color the
+eyes, using a small brush. If they are blue, use a weak
+solution of blue, if gray, use a little black, and if brown,
+then that color. Next color the hair; if brown, use brown
+mixed with a little black to take away the reddish color;
+if auburn, use brown and yellow, with a little gray between
+the lights and shadows. In working on the hair,
+move your brush in the direction of the lines of the hair;
+if wavy, then cause your brush to follow its lines. After
+you have thus gone over it, darken the shadows with a
+stronger solution of the same color. After the hair, paint
+the eyebrows and beard, if there is any, with the same
+color.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span></p>
+<h2><a name="DRAPERY" id="DRAPERY"></a>DRAPERY.</h2>
+
+
+<p>You must remember in using these liquid colors that
+they are transparent, and, therefore, whenever the print is
+light you cannot make it dark, unless you strengthen the
+shadows by applying opaque colors. For dresses, if they
+are light, use the delicate colors to suit your fancy, either
+the rose, blue, yellow, or gold; when they are dark, use
+the magenta or violet, being careful to spread the colors
+evenly. After you have once colored the dresses, then
+with a stronger solution of the same color darken the shadows;
+if you then touch up the half-shadows with blue the
+effect will be still finer. For neckties or ribbons use the
+complementary color to that of the dress. For laces use a
+weak solution of yellow, and after it is dry touch up the
+strong lights with Chinese white. If there is a curtain in
+the picture use the complementary color to the dress. For
+chairs use brown. If sky, trees and grass are to be
+painted, color them according to the directions given for
+landscapes under the different colors; only be sure to
+modify them, and keep them low in tone and color.</p>
+
+<p>In laying on flat washes of color, the brush must be held
+nearly upright and should be passed boldly over the surface;<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span>
+the color should then gradually be brought down
+and spread equally over the whole surface as rapidly as possible,
+in order to avoid letting any part dry before the
+whole has been covered; then whatever surplus there may
+be should be carefully sponged off. When you apply the
+wash of color to the picture the latter should not be held
+flat, but at a slight angle, so that the color will settle down
+towards the bottom of the picture.</p>
+
+<p>These colors are more suitable for figures and landscapes
+combined than they are for landscapes alone, yet very
+pretty effects in landscapes can be produced with them.
+If any white spots should be found in the photograph, as
+very often happens, after the picture is quite complete,
+touch them out with India ink, using a small brush.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span></p>
+<h2><a name="LANDSCAPE" id="LANDSCAPE"></a>LANDSCAPE.</h2>
+
+
+<p>If the sky is to be blue, wash it all over with a weak
+solution of blue; if there are white clouds, you can touch
+up the highest lights with Chinese white; if there is a sunset
+or rosy effect, use a weak solution of rose or a little
+magenta. But it is best not to try to make too much of
+the sky, as the gray that is generally in it will give a very
+pretty effect and leave more contrast between the figures
+and the sky. For the middle distance mix blue, rose, and
+a little yellow or gold if you want it greenish, or you can
+use a very little brown. The nearer the trees come in the
+foreground the stronger in color they should be; that is,
+they should tend more to the green and brown and less
+to the bluish color. If they are to be bright green use blue
+and yellow, and retouch the light places with yellow. You
+can make the green duller by mixing a little black with
+the yellow, or you can make a richer green by using blue,
+gold and brown, and then touching up the lights with
+gold, and the shadows with brown. For the grass use
+blue and yellow, and retouch the lights with yellow; for
+the ground use brown, and retouch the lights with gold;
+for tree trunks, fences, and the like, use brown; for rocks,
+use black and a little brown.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span></p>
+<h2><a name="THE_PRINCIPLE" id="THE_PRINCIPLE"></a>THE PRINCIPLE.</h2>
+
+
+<p>The study of painting as an art is based on three considerations,
+form, light and shade, and color. I will now
+treat of color&mdash;the form, and light and shade being furnished
+for us in the photograph. Photography as a means of art
+education in its influence on the public is salutary. In
+spite of all its falsity it is the best teacher of the first elements
+of criticism and knowledge of the facts of form and
+light and shade. Photography does not produce color, so
+that we will add the one link to the chain that is wanting.
+As we are dealing with pictures finished in light and shade,
+it is well that we should have rules to aid in choosing good
+ones to work on.</p>
+
+<p>In selecting a photograph to color we want as perfect a
+print as it is possible to procure. A light one is preferable.
+Notice in particular if it is well defined, that the
+shadows and middle shades are clear, the lights pure, and
+that it is free from defects and spots. Many think that
+they can take a poor photograph, and, by coloring it, cover
+up the defects, but they are wrong in this, for the transparent
+colors will not conceal defects. The best rule is<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span>
+that the better the photograph the better will be the picture
+when finished. The Soule Photograph Company, No.
+338 Washington Street, Boston, Mass., furnish photographic
+reproductions, mounted and unmounted, of all the
+best paintings in the world, in both public and private
+art galleries, and their photographs are the best to color.
+Therefore, to begin with, have a perfect picture to color.
+Scholars in commencing to use the brush will not be able
+to produce bold effects of color, and will only acquire
+that power by use and practice. By bold effects I do
+not mean that one part is to be more prominently rendered
+than any other portion of the work, but merely the
+brilliancy of coloring which distinguishes professional from
+amateur work. In any kind of painting it must be borne
+in mind, that there are no decided lines forming the
+edges of any object. The point insisted on is that the
+boundaries of objects must be of that color that will
+harmonize and subdue the picture, producing a soft,
+delicate effect.</p>
+
+<p>I would advise all who begin to paint to commence with
+water colors, as they are the easiest to manipulate, the
+liquid water colors being easier than the body colors,
+and their use the simplest of all kinds of painting. The
+photograph being a fac-simile of a subject as it appears to
+the eye in form and light and shade, furnishes a picture<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
+perfect except in color, while the liquids supply the color
+in the form best adapted to teaching the first steps in its
+use. It is hoped, though, that after the student has thoroughly
+mastered this course of study, he will attempt something
+higher and more difficult in the study of art.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2 class="center sans"><big>French Crystals.</big></h2>
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span></p>
+
+<p class="figcenter" style="width: 600px;">
+<img src="images/image123.png" width="600" height="225" alt="" title="" />
+</p>
+
+
+
+
+<h2><a name="FRENCH_CRYSTALS" id="FRENCH_CRYSTALS"></a>FRENCH CRYSTALS.</h2>
+
+
+<p>These are photographs colored with liquid water colors
+and mounted on glass. For several years a process has
+been taught by which a photograph is rendered transparent
+by the use of paraffine oil, etc., then mounted on glass, and
+colored from the back with oil paints. While by this
+method a picture pleasing at the time could be produced,
+yet unless the process was perfectly executed the oils would
+decompose and the picture become yellow and spotted.
+The use of water colors entirely overcomes these objections,
+as it is so simple that any one can employ them perfectly,
+and as there are no oils used in their production they cannot
+change or turn yellow.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span></p>
+<h2><a name="MATERIALS" id="MATERIALS"></a>MATERIALS.</h2>
+
+
+<p style="margin-left: 2em;">Convex glasses on which to mount photographs,<br />
+
+Bottle of Florentine, Egyptian, Grecian or other compound
+for mounting on glass,<br />
+
+Best French picture glass,<br />
+
+Some gummed paper,<br />
+
+A dish in which to soak photographs,<br />
+
+Some dark, thin, fancy paper,<br />
+
+Sheet of blotting paper.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span></p>
+<h2><a name="THE_METHOD" id="THE_METHOD"></a>THE METHOD.</h2>
+
+
+<p>Having secured a good photograph, rub a little pumice
+stone over it with the finger, and then, if it is mounted,
+remove it from the card by placing it in warm water and
+allowing it to soak for an hour or two, or over night if necessary.
+After it is thus freed from the card lay it face
+down on a piece of glass, and sponge off all the starch from
+the back. Cut a piece of blotting paper the size of the picture
+and lay it on a glass, wetting it with water applied
+with a sponge; then lay the photograph, still wet, on the
+blotting paper, and, with a sponge, remove all the surplus
+water from its surface. Now proceed to color it according to
+the directions given in the preceding pages for coloring
+photographs with transparent liquid water colors. In case
+you should put on too much color, let the photograph soak
+a few moments in warm water, when the surplus color will
+gradually come out, and you may then recolor it. After it
+has been finished to your satisfaction, proceed to mount
+it according to the directions next given.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span></p>
+<h2><a name="MOUNTING_FRENCH_CRYSTALS" id="MOUNTING_FRENCH_CRYSTALS"></a>MOUNTING FRENCH CRYSTALS.</h2>
+
+
+<p>The glass for mounting, whether flat or convex, should
+be the same size as the picture. It should be dipped in
+water and permitted to drain off, but do not dry it; pour a
+little of the compound on the side against which the photograph
+is to be placed&mdash;the hollow side, if the glass is convex&mdash;let
+it drain off and lay the picture face down upon it.
+With the thumb and finger commence at the centre of the
+photograph, smoothing it down close to the glass, forcing
+all the air bubbles out to the edges, thus continuing until
+the picture is entirely smoothed out, and at every point in
+actual contact with the glass. During this process hold the
+glass at an angle, so that you can see if there are any air
+bubbles or glistening places in it by examining its face occasionally;
+and always let a little of the compound get on
+the back of the photograph, as it allows the fingers to glide
+over it more easily and lessens the chance of tearing it.
+Now take a second glass the same size as the first, and
+having thoroughly cleaned it, fasten it to the back of the
+other by small strips of gummed paper. Then place a
+piece of card-board of the same size on the back of the two
+glasses and fasten the three together also with small strips<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span>
+of gummed paper; finally securing the whole firmly together
+by binding it with some large strips, and your picture
+is ready to frame. In case you do not care to frame
+it, cut out a piece of some dark fancy paper, a quarter of
+an inch on each edge larger than the picture, and fasten it,
+dark side out, on the back, allowing the quarter of an inch
+to lap over and be pasted on the face, after which straighten
+the edges with a ruler and sharp knife.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span></p>
+<h2><a name="FINISHING_PHOTOGRAPHS_IN_INDIA_INK" id="FINISHING_PHOTOGRAPHS_IN_INDIA_INK"></a>FINISHING PHOTOGRAPHS IN INDIA INK.</h2>
+
+
+<p>The principles that have been given in regard to finishing
+photographs with lines, apply also to finishing with India
+ink&mdash;with the exception that in the manipulation of
+the ink it must be remembered that it cannot be taken out;
+therefore, you must commence to finish the photograph gradually,
+and produce the proper strength by repeatedly working
+over it. The old method of making India ink portraits
+was to have a print on "plain" paper&mdash;a kind without
+albumen on its surface. The great disadvantage of
+"plain" paper is that the lights and shadows on it are not
+strong, and therefore it takes too much work to finish
+the picture.</p>
+
+<p>The following method (which is very simple and can be
+used in work on albumen paper, provided you have treated
+it by rubbing pumice stone over its surface with your fingers),
+adapts it to India ink. Of course the pumice
+stone treatment destroys the albumen on the surface, causing
+it to have a dull appearance, but after the picture has
+been finished its lustre can be restored by the use of a not
+too warm burnisher.</p>
+
+<p>In finishing the photograph commence on the hair by<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span>
+washing it all over (with the exception of the highest light)
+with a weak solution of the ink, using the brush in the
+same direction that the hair goes; after this has dried, indicate
+the half-shadow with a little stronger wash, and
+after drying it again put in the deeper shadows, then the
+eyebrows, eyes and beard, if the subject has one.</p>
+
+<p>Faces are finished in India ink on the line principle,<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a>
+which shows the grain of the flesh. Commence on the
+forehead with a very weak solution, and then continue it
+all over the face, repeatedly working and cross hatching
+with lines until the face is dark enough; then strengthen
+the shadows under the eyes, nose, mouth and chin. After
+the face is completed put in the clothes. This you do by
+washing them over with two or three solutions of the ink,
+and then producing the line effect as in work on crayon
+portraits, explained on page <a href="#Page_76">76</a>, the difference in the nature
+of the material used being always borne in mind. After
+the picture is otherwise completed, you can brighten up the
+eyes and some of the strongest shadows with a solution of
+gum arabic and water.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> See pages <a href="#Page_57">57</a> and <a href="#Page_72">72</a>.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span></p>
+<h2><a name="CONCLUSION" id="CONCLUSION"></a>CONCLUSION.</h2>
+
+
+<p>While it is thought that all essential instructions on the
+topics treated of have been given in the foregoing pages,
+and that if faithfully followed they will lead the pupil to
+attain satisfactory results, it is hoped that my readers who
+have accompanied me thus far will not be content to continue
+to use a photograph as the basis of their work, but
+will advance to the pursuit of art in a broader and more
+scientific manner. As a step in this direction the study of
+form, and light and shade, by drawing from the cast
+should be taken up; and to this work the directions as to
+light and shade given in the foregoing pages fully apply,
+that requiring the object to be placed in such a position
+that the light will strike it at an angle of ninety degrees
+being always borne in mind.</p>
+
+<p>The student will do well to gain all he can from the
+published works of the leaders in the profession, whose
+writings, both theoretical and practical, are invaluable.
+Three essays by John Burnet I can very heartily recommend.
+They are "Practical Hints on Light and Shade,"
+"Practical Hints on Composition," and "The Education
+of the Eye." These are published in a single volume,<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span>
+which is illustrated with examples from the great masters
+of the Italian, Flemish and Dutch schools, and
+should be in the hands of every amateur. They will all
+repay perusal and study until their principles are mastered.
+An English edition of these books is published by James
+Carpenter, London, and in this country they have been reproduced
+by Edward L. Wilson, editor of the <i>Philadelphia
+Photographer</i>. Another book which abounds in valuable
+and practical information for the amateur and can be
+highly commended, is "Art Recreations, a Guide to Decorative
+Art," by Marion Kemble, published by S. W. Tilton
+&amp; Co., Boston; also J. Bacon's "Theory of Coloring,"
+issued by Geo. Rowney &amp; Co., England.</p>
+
+<p>Those who are disposed to treat disdainfully the work of
+finishing photographs in crayon and color as not demanding
+truly artistic qualities, should not forget that success
+here has still a real value in awakening in many who undertake
+it a feeling for art of a higher kind, and in developing
+a natural talent which otherwise might have been
+undiscovered. Many an artist now looks back with pleasure
+and gratitude to this sort of work, in which he received
+the first impetus toward higher effort.</p>
+
+<p>In answer to the assertion which is sometimes made that
+transparent water colors are not permanent, I claim that in
+the sense in which the word is ordinarily used in connection<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span>
+with photography they may properly be called so.
+In this sense the lasting qualities which characterize the
+materials used by the old masters are not looked for, but
+where photographs have been thus colored, finished in the
+form of French crystals, and properly sealed from the
+atmosphere, they are practically permanent. I have some
+in my possession that were made years ago, and they are
+as bright and fresh to-day as when first colored. It can
+be truly said that photographs colored in this way make
+very beautiful and pleasing pictures, obtainable with but
+little work and expense, and having practical permanency
+of color.</p>
+
+<p>As a final word to those who intend to follow art as a
+profession, I urge the earnest study and mastery of drawing
+at the outset as the foundation of all art; then take up
+work in body water colors, and when the theory of coloring
+is fully understood, do not neglect the careful reading
+of books of acknowledged merit bearing on your work.
+The more notes you take in the course of your reading the
+more fully you will assimilate the author's thought, while,
+at the same time, you furnish the easiest means of rapid review.
+After all, your soundest basis for work will be your
+deep and continuing love for it, and your willingness to
+labor long and conscientiously to attain excellence. Do
+not imagine that the profession of an artist is that of an<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>
+idler. On the contrary, of all occupations it is perhaps the
+most active, for one is constantly engaged, if not with art
+itself, at least with its materials.</p>
+
+<p>Every artist will confess that were it not for the charm
+with which it rewards the votaries who follow it from love,
+the pursuit would be a painful one, such vigilant precaution
+does it require, such constant foresight, such calculation
+and preparation against possible difficulty on every
+hand; but the true artist, happy in the daily gain of
+knowledge which his experience brings him, and delighted
+with the gradual mastery of his work, as a rule lives along
+enjoyably, retaining more than most men the freshness of
+youth while he gains in power as he advances in years.
+So pleasant a fate as this for each of his readers is the closing
+wish of the author.</p>
+
+
+
+
+<hr style="width: 65%;" />
+
+<h3>Transcriber's Notes</h3>
+
+<p>Moved some illustrations to avoid breaking up paragraphs of text. The
+page references in the List of Illustrations refer to the original
+book, but link to the illustrations.</p>
+
+<p>Corrected minor punctuation errors and hyphenation inconsistencies,
+and made the following changes:</p>
+
+<p>
+Page <a href="#Page_50">50</a>: Changed necesssary to necessary:<br />
+<span style="margin-left: 1em;">(all the details necesssary).</span><br />
+<br />
+Page <a href="#Page_67">67</a>: Changed Appelton to Appleton:<br />
+<span style="margin-left: 1em;">(From the Annual Encyclopedia. Copyrighted, 1891, by D. Appelton).</span><br />
+<br />
+Page <a href="#Page_74">74</a>: Changed where-ever to wherever:<br />
+<span style="margin-left: 1em;">(using the latter where-ever a lighter effect is required).</span><br />
+<br />
+Page <a href="#Page_90">90</a>: Changed picrure to picture:<br />
+<span style="margin-left: 1em;">(And when a picrure is composed chiefly of middle tint).</span><br />
+</p>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 30248 ***</div>
+</body>
+</html>
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+The Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Crayon Portraiture
+       Complete Instructions for Making Crayon Portraits on Crayon
+       Paper and on Platinum, Silver and Bromide Enlargements
+
+Author: Jerome A. Barhydt
+
+Release Date: October 13, 2009 [EBook #30248]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CRAYON PORTRAITURE ***
+
+
+
+
+Produced by Chris Curnow, Diane Monico, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+
+
+Crayon Portraiture.
+
+
+[Illustration: FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER--STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT.]
+
+
+
+
+CRAYON PORTRAITURE
+
+COMPLETE INSTRUCTIONS FOR MAKING CRAYON
+PORTRAITS ON CRAYON PAPER AND ON
+PLATINUM, SILVER AND BROMIDE
+ENLARGEMENTS
+
+ALSO DIRECTIONS FOR THE USE OF
+TRANSPARENT LIQUID WATER COLORS
+AND FOR MAKING
+FRENCH CRYSTALS
+
+
+BY
+
+J. A. BARHYDT
+
+AUTHOR OF ARTICLE ON CRAYON PORTRAITURE IN
+_Appleton's Annual Cyclopedia, 1890_.
+
+
+Illustrated
+
+_Revised and Enlarged Edition_
+
+NEW YORK
+THE BAKER & TAYLOR CO.
+33-37 E. 17TH STREET, UNION SQUARE NORTH
+
+
+COPYRIGHT, 1886 AND 1892
+
+BY J. A. BARHYDT
+
+
+ROBERT DRUMMOND, PRINTER, NEW YORK
+
+
+
+
+PREFACE.
+
+
+In issuing this second treatise on Crayon Portraiture, Liquid Water
+Colors and French Crystals, for the use of photographers and amateur
+artists, I do so with the hope and assurance that all the requirements
+in the way of instruction for making crayon portraits on photographic
+enlargements and for finishing photographs in color will be fully met.
+To these I have added complete instructions for free-hand crayons.
+
+This book embodies the results of a studio experience of twenty-four
+years spent in practical work, in teaching, and in overcoming the
+everyday difficulties encountered, not alone in my own work, but in
+that of my pupils as well. Hence the book has been prepared with
+special reference to the needs of the student. It presents a brief
+course of precepts, and requires on the part of the pupil only
+perseverance in order that he may achieve excellence. The mechanical
+principles are few, and have been laid down in a few words; and, as
+nearly all students have felt, in the earlier period of their art work,
+the necessity of some general rules to guide them in the composition
+and arrangement of color, I have given, without entering into any
+profound discussion of the subject, a few of its practical precepts,
+which, it is hoped, will prove helpful.
+
+While this book does not treat of art in a very broad way, yet I am
+convinced that those who follow its teachings will, through the work
+they accomplish, be soon led to a higher appreciation of art. Although
+this kind of work does not _create_, yet who will say that it will not
+have accomplished much if it shall prove to be the first step that
+shall lead some student to devote his or her life to the sacred calling
+of art?
+
+It has been said that artists rarely, if ever, write on art, because
+they have the impression that the public is too ill-informed to
+understand them--that is, to understand their ordinarily somewhat
+technical method of expression. If, therefore, in the following pages I
+may sometimes seem to take more space and time for an explanation than
+appears necessary, I hope the student will overlook it, as I seek to be
+thoroughly understood.
+
+My hope with reference to this work is that it may prove of actual
+value to the earnest student in helping him reach the excellence which
+is the common aim of all true artists.
+
+                        J. A. BARHYDT.
+
+
+
+
+CONTENTS.
+
+                                                                  PAGE.
+
+Preface                                                             ix
+
+Crayon Portraiture                                                  15
+
+Photographic Enlargements                                           19
+
+Crayon Materials                                                    22
+
+The Specific Use of Crayon Materials                                25
+
+The Strainer                                                        30
+
+Mounting Crayon Paper and Platinum and Silver Enlargements          32
+
+Mounting Bromide Enlargements                                       37
+
+Outlines--Negative Outline                                          39
+
+Magic Lantern Outline                                               42
+
+Transfer Outline                                                    46
+
+The Metroscope                                                      47
+
+The Pantograph                                                      49
+
+Crayon Effects--The Four Methods of making Backgrounds              51
+
+Free-hand Crayons and those made from Photographic Enlargements     53
+
+Filling in the Free-hand Crayon                                     55
+
+Line Effect                                                         57
+
+Stipple Effect                                                      59
+
+Backgrounds--General Principles                                     62
+
+First Method of making the Background--Stump Effect                 65
+
+Second Method of making the Background                              66
+
+Third Method of making the Background--Line Effect                  67
+
+Fourth Method of making the Background--Stipple Effect              70
+
+Face--Line Effect                                                   72
+
+Dress--Line Effect                                                  76
+
+Bromide Crayons                                                     78
+
+Finishing Bromide Enlargements                                      82
+
+Monochromes                                                         88
+
+Values                                                              89
+
+The Studio                                                          93
+
+Framing                                                             95
+
+Passepartout Mounting                                               97
+
+
+TRANSPARENT LIQUID WATER COLORS FOR COLORING
+PHOTOGRAPHS.--MATERIALS REQUIRED IN THEIR USE                      101
+
+Theory of Color                                                    103
+
+Colors                                                             106
+
+Yellow                                                             106
+
+Blue                                                               107
+
+Rose                                                               108
+
+Violet                                                             109
+
+Magenta                                                            109
+
+Flesh                                                              110
+
+Brown                                                              110
+
+Black                                                              111
+
+Gold                                                               111
+
+Instructions for using Liquid Water Colors                         112
+
+Drapery                                                            114
+
+Landscape                                                          116
+
+The Principle                                                      117
+
+
+FRENCH CRYSTALS                                                    123
+
+Materials                                                          124
+
+The Method                                                         125
+
+Mounting French Crystals                                           126
+
+Finishing Photographs in India Ink                                 128
+
+Conclusion                                                         130
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE.
+
+Free-hand Crayon made on Steinbach Crayon Paper with a
+Magic Lantern Outline, showing Stipple Effect in Face
+and Drapery and Broken Line Effect in Background         _Frontispiece_
+
+Negative Outline--Dark Chamber                                      40
+
+McAllister's Magic Lantern, No 653, with Wonder Camera
+  Attachment                                                        42
+
+Magic Lantern Outline                                               43
+
+Lines to produce Stipple Effect                                     60
+
+Background--Line Effect                                             67
+
+Line Effect for Face                                                72
+
+Line Effect for Dress                                               76
+
+Crayon executed over Bromide Enlargement made from Original
+Negative, showing Stipple Effect throughout                         80
+
+[Illustration]
+
+
+
+
+CRAYON PORTRAITURE.
+
+
+To many who know nothing about the art of crayon portraiture, the
+mastery of it not only seems very difficult, but almost unattainable.
+In fact, any work of art of whatever description, which in its
+execution is beyond the knowledge or comprehension of the spectator, is
+to him a thing of almost supernatural character. Of course, this is
+more decided when the subject portrayed carries our thoughts beyond the
+realms of visible things.
+
+But the making of crayon portraits is not within the reach alone of the
+trained artist who follows it as a profession. I claim that any one who
+can learn to write can learn to draw, and that any one who can learn to
+draw can learn to make crayon portraits. Making them over a
+photograph, that is, an enlargement, is a comparatively simple matter,
+as it does not require as much knowledge of drawing as do free-hand
+crayons. But you must not suppose that, because the photographic
+enlargement gives you the drawing in line and an indistinct impression
+of the form in light and shade, you are not required to draw at all in
+making a crayon portrait over such an enlargement. Some knowledge of
+drawing is necessary, though not a perfect knowledge.
+
+Many people err in supposing that only the exceptionally skilled can
+produce the human features in life-like form upon the crayon paper.
+While recognizing great differences in natural aptitude for drawing in
+different persons, just as those who use the pen differ widely in their
+skill, some being able to write with almost mechanical perfection of
+form, I still hold that any one who is able to draw at all can succeed
+in producing creditable crayon portraits; and the lack of great skill
+as a draughtsman, should neither discourage a student nor debar him
+from undertaking to make crayon portraits (over enlargements, at
+least), either as an amateur or professional. To make a crayon from
+life undoubtably requires considerable talent and some education as an
+artist; but photography, in recent times, has made such advances from
+the old fashioned daguerreotype to the dry plate process and
+instantaneous exposure, and such developments have recently been made
+in the field of enlargements and in photographic papers, that it is now
+possible for anyone, who will carefully follow the plain instructions
+given in the following pages, to make a good crayon portrait by the aid
+of the different kinds of enlargements. These place in his hands a
+perfect reproduction of what he wishes to make; and care and close
+attention to details will insure the rest.
+
+The student, however, must have courage. I tell my pupils not to be
+afraid to work freely; that if they spoil their work beyond their
+ability to redeem it, I can always fix it up and restore it for them;
+and that they should go ahead confidently. The reader may say that he
+has no teacher to help him out of his difficulty; but he must remember
+that he has the photographic enlargement as a sure guide, and that
+whenever he fears he is losing the outline, he can see at once what he
+is doing, by holding the enlargement against the light with its back
+towards him. My experience as a teacher has shown me that pupils, as a
+rule, are timid, especially that class which works mostly on
+enlargements, resulting from the fear of losing the outline and from
+lack of a thorough knowledge of drawing. I especially urge the
+necessity for boldness and freedom in execution. As an expert in
+chirography can read character in handwriting, so the artist's public
+will judge him from his work. If he is, in fact, weak and timid, these
+traits will find expression in what he puts on paper. Let courage,
+then, be an important part of your equipment, if you would succeed in
+doing good crayon work.
+
+
+
+
+PHOTOGRAPHIC ENLARGEMENTS.
+
+
+There are three kinds of photographic enlargements used as a basis for
+crayon portraits, and, with a little experience, the student can
+determine for himself which kind will prove the most satisfactory.
+
+Free-hand crayons are made on Steinbach and other crayon papers,
+without any photograph as a basis. Silver enlargements are made on
+paper coated with a solution of chloride of silver, which the action of
+the light reduces to salts of silver. This is the oldest form of
+photography, and has been used since its introduction by Scheele in
+1778. Silver enlargements are made by the aid of the sun (and are then
+called solar enlargements) or they can be made with the electric light.
+
+Platinum enlargements are a recent advance in photographic printing
+with iron salts, the process which has been worked out and patented by
+W. Willis, Jr., being a development of such printing. Its principle is
+that a solution of ferrous oxalate in neutral potassium oxalate is
+effective as a developer. A paper is coated with a solution of ferric
+oxalate and platinum salts and then exposed behind a negative. It is
+then floated in a hot solution of neutral potassium oxalate, when the
+image is formed.
+
+This process was first introduced by Mr. Willis in 1874, and he has
+since made improvements. He claims that the platinotype paper does not
+contain any animal sizing. The early experiments convinced him that the
+paper upon which the image was to be printed would prove an important
+factor, as all photographic paper contained animal sizing, which was
+found to be antagonistic to platinum salts. The action of platinum
+salts upon a paper containing animal sizing gave it a tint which no
+amount of acid washing could remove. For the past nine years Mr. Willis
+has had manufactured for his special use a Steinbach paper, free from
+the animal sizing, and he also uses a cold developer, thereby causing
+the paper to retain its original elasticity.
+
+The chief points of difference between bromide enlargements and silver
+or platinum enlargements are that, in the former, we have the sensitive
+compound of silver suspended in a vehicle of gelatin, and, in the
+latter, a thin coating of an aqueous solution of the sensitive salts.
+In the former process, the image is not shown until the paper has been
+developed in the bath, while in the latter, the image is shown upon the
+paper when it is exposed to the light; so that, in the latter, the
+image or picture has only to be fixed or made permanent, while in the
+former, it is developed, then fixed. The gelatin bromide paper is
+coated with a solution of gelatin, bromide of potassium and nitrate of
+silver, developed with a solution of oxalate of potash, protosulphate
+of iron, sulphuric acid and bromide of potassium and water, and fixed
+with hyposulphate of soda. It is manufactured in America by E. and H.
+T. Anthony & Co. and by the Eastman Dry Plate Company.
+
+
+
+
+CRAYON MATERIALS.
+
+
+The following materials will be found necessary for crayon work:
+
+    A good photographic enlargement,
+    Easel,
+    Mahl stick,
+    Three inch magnifying glass,
+    Square black Conte crayon, Nos. 1, 2 and 3,
+    Charcoal holder for the same,
+    Hardmuth's black chalk points, Nos. 1, 2, 3, 4 and 5,
+    Holder for the same,
+    Box Faber's crayon points, Nos. 1, 2 and 3,
+    Holder for the above crayons,
+    Conte crayon, in wood, Nos. 0 and 1,
+    6 B. Faber's holder for Siberian lead pencil points,
+    4 H. Faber's holder with Siberian lead pencil point,
+    Velour crayon,
+    Peerless crayon sauce,
+    Black Conte crayon sauce, in foil,
+    White crayon, in wood,
+    Bunch of tortillon stumps,
+    Large grey paper stumps,
+    Small grey paper stumps,
+    The Peerless stump,
+    Large rubber eraser, 4 inches by 3-4 inches square, bevelled end,
+    Two small nigrivorine erasers,
+    Holder for nigrivorine erasers,
+    Piece of chamois skin,
+    Cotton batting of the best quality,
+    A sheet of fine emery paper,
+    A sharp pen knife,
+    One pound of pulverized pumice stone,
+    Mortar and pestle,
+    A large black apron,
+    Paste-board box about ten inches square and two inches deep,
+    Back-boards for mounting crayon paper and photographic enlargements,
+    Pliers,
+    Paste brush, three inches wide, to be used for starch paste or for
+      water.
+
+Experience has taught me that we cannot be too particular in giving
+directions as to the materials for our work, and therefore I have
+carefully included in the above list everything necessary to thoroughly
+equip the student. While the magnifying glass mentioned above is not an
+actual necessity, still a good one will be found very useful, as it
+will often show details in the photograph which would not be discovered
+by the naked eye. My male readers may at first object to so feminine an
+article as an apron, but it will be found thoroughly useful, and I am
+sure they will never consent to abandon it after they have once become
+accustomed to wearing it.
+
+
+
+
+THE SPECIFIC USE OF CRAYON MATERIALS.
+
+
+I will now explain the specific use and nature of these materials,
+reserving the various kinds of photographic enlargements and their
+special qualities and advantages, for treatment under their different
+manipulations.
+
+The easel should be set so that the light strikes the picture at an
+angle of 90 deg., and, when working from a side light, it will very
+often be necessary to darken the lower part of the window to accomplish
+this result.
+
+The mahl stick is held in the left hand, and is used as a rest for the
+right arm in working. Though a trifle awkward and difficult at first,
+its use must, nevertheless, be learned, as the hand will not be steady
+without it, especially in portrait work.
+
+The square black Conte crayons are for filling in where there are large
+dark places. The No. 1 is used with the black Conte crayon sauce in
+making the crayon sauce (to be applied with the ends of the fingers) to
+produce a broad effect and to make the stipple effect on the paper
+after it has been rubbed with pumice stone.
+
+The crayon points, Nos. 1, 2 and 3, are used in making outlines and
+also in putting in the lines to produce the line effect. In general,
+they are to be used in free-hand crayons and on silver and platinum
+enlargements.
+
+The Hardmuth black chalk points are similar to the crayon points, and,
+if preferred, should be used according to the directions given for the
+crayon points.
+
+The Hardmuth points are made in five numbers and will, therefore,
+produce more shades of black than the crayon points. They are also
+twice as long as the latter, without costing any more.
+
+The Conte crayons, in wood, are used for finishing the crayon,
+especially the No. 0, its hardness adapting it to that purpose.
+
+The 6 B. Faber's holder, for lead pencil points, is for holding the
+Faber's Conte crayon No. 0 after it has become short, the wood being
+carefully removed before the crayon is placed in the holder.
+
+The 4 H. holder, with Siberian lead pencil point, is used in the very
+finest work on bromide paper, for finishing in the light places. Care
+must be employed not to use too much lead on the paper, as, being of a
+different color from the crayon, it would show if too freely applied.
+It is also used in making monochromes.
+
+Velour crayon is very black. It is only used to produce a velvet effect
+and whenever it is necessary to make a very strong dark--that is, a
+dark that is deeper than an ordinary shadow.
+
+The Peerless crayon sauce is the same as the crayon sauce made from No.
+1 Conte crayon and the black Conte crayon sauce in foil. It is made and
+put up in bottles by F. W. Devoe & Co., and can be bought of any dealer
+in artist's materials. It will be found more convenient to get it in
+this form than to prepare it in the studio; it costs no more and saves
+the expense of a mortar and pestle. As it is ground by machinery and
+passed through a very fine screen, there are no small hard particles in
+the preparation, and its use is recommended.
+
+Black Conte crayon sauce, in foil, is used in making the crayon sauce
+to be applied with the fingers.
+
+White crayon, in wood, is for touching up the high lights of white
+drapery, and especially for the high lights on white lace; it is to be
+used very sparingly.
+
+Tortillon stumps are used in making the face, when it is desired to
+produce the stump effect, and also in making the hair.
+
+The large grey paper stump serves to make the broad effect of shade in
+the stump effect in the hair and dress.
+
+The Peerless stump is used to produce the same effect as the large grey
+paper stump. It will be found far better than the paper stump for work
+on the bromide paper, as it is made of softer material and causes the
+crayon to adhere to the paper more readily.
+
+The large rubber eraser is to put in the broad effects of light in the
+background and dress. The small nigrivorine erasers are used when it is
+necessary to remove the crayon, in order to produce small decided
+lights--principally in making free-hand crayons and to produce the line
+effects over a platinum and silver enlargement. While the stumps are
+used for putting on the crayon, the erasers are used to remove it. The
+chamois is also used for removing the crayon, to produce broad effects
+of light.
+
+The cotton is for applying the crayon sauce to the paper and for
+rubbing the crayon at different stages in the completion of the
+picture. The crayon cannot be removed with the eraser unless it has
+first been rubbed with the cotton; and this must be borne in mind, as
+the use of the eraser at this stage would only result in making a black
+line or spot, when it was intended to produce a white line or spot.
+
+It will also be well to make a chamois block for applying the crayon
+sauce, to be worked with the tortillon stump. This is done by tacking
+onto a block, four inches long, two inches wide and three-quarters of
+an inch thick, a piece of chamois skin, three inches wide by five
+inches long, allowing it to cover the top, while it is fastened along
+the four edges. This is placed face down in the box of crayon sauce and
+rubbed around in it, so that the crayon will adhere thoroughly to the
+chamois.
+
+Emery paper is used to sharpen the nigrivorine erasers and the crayon
+points.
+
+The knife, which is a very important tool, should be a good one, always
+kept well sharpened. The best for this work is an ink eraser, with a
+rounding point, a long edge on one side of the blade and a short one on
+the other side, extending about an inch from the point.
+
+The mortar and pestle are for pounding or grinding the Conte crayon No.
+1 and the crayon sauce, in making the special crayon sauce mentioned
+above.
+
+The paste-board box is intended to hold this special crayon sauce or
+the Peerless sauce.
+
+The back-boards are one inch thick, made to fit the back of the
+strainer (described in the next chapter), and are used in mounting. It
+will be necessary to have three different sizes, the most useful being
+11x15, 15x19 and 19x24 inches, to fit, respectively, strainers
+measuring 16x20, 20x24, 24x29 and 25x30 inches.
+
+The pliers should be either what is known as shoe-maker's pliers (which
+are the cheapest) or the canvas pliers, used in stretching that
+material; they are needed to stretch the cloth on the strainer.
+
+The pulverized pumice stone is used in preparing the surface of crayon
+paper and bromide enlargements, to produce the stipple effect.
+
+
+
+
+THE STRAINER.
+
+
+The strainer, on which crayon paper or any kind of photographic
+enlargement is to be mounted, should be the same size as the intended
+picture. The frame is made of four strips of pine wood, two inches
+wide, one inch thick on the outside, and three quarter inch on the
+inside, making a quarter inch bevel on the inside edge of the face;
+these are nailed together and glued. To this, tack a piece of bleached
+muslin, free from knots and rough places, which has been cut two inches
+larger each way than the frame. Use six ounce Swede upholsterers'
+tacks, placing one in the centre of the outside edge of one side and
+another directly opposite, stretching the muslin as firmly as possible
+with the fingers. Then place a third tack in the centre of the outside
+edge of the top, and a fourth in the centre of the bottom of the frame,
+stretching as before. In finishing, use the pliers in addition to the
+fingers, and remember that you must always stretch from the centre
+towards the corner or you will have wrinkles in the muslin. As this
+process should be thoroughly understood, I will give minute directions
+for completing the operation. Having already placed the four tacks as
+above, stand the strainer on its bottom edge on the floor, with the
+back towards you, and put in the fifth tack two inches to the right of
+the third, that is, the one on the top previously mentioned. Instead of
+stretching the muslin directly back in a straight line towards you and
+at right angles to the fourth tack, you must draw it with the fingers
+towards the right hand corner. Then finish stretching, and tacking this
+edge to the right hand corner of the top, placing the tacks two inches
+apart and taking care to only draw the cloth sufficiently to have it
+perfectly smooth and straight on the edges, leaving the stretching to
+be done with the pliers; then turn the strainer on the side edge and
+tack at two inch intervals from the centre of the other (that is the
+upper) side to the right hand corner, same as before, and then tack
+half of the bottom edge and half of the other side in the same way. You
+will observe that you now have only one half of the muslin tacked--that
+is, one half on each edge--and you then complete the tacking, using the
+pliers to thoroughly stretch the muslin. This method has the advantage
+that you can stretch the muslin on the strainer and get it on better
+and in less than half the time required by the old method; also that
+you stretch the whole surface of the muslin with the pliers, and do it
+with only half the work.
+
+
+
+
+MOUNTING CRAYON PAPER AND PLATINUM AND SILVER ENLARGEMENTS.
+
+
+Wet in clean water a piece of muslin about two inches larger each way
+than the paper you intend to mount, and lay it on the mounting board or
+table, removing all the wrinkles with a wet brush; then place the paper
+on this cloth, face down, and with some water and a brush, wet the back
+of the paper, continuing to use the brush until all the wrinkles are
+entirely smoothed out and the paper lies down perfectly flat. Any
+number of pieces of paper can be wet at the same time by placing one
+over the other, provided the larger sizes are laid down first and each
+is brushed out flat before another is placed over it. Let the paper
+soak for about fifteen minutes.
+
+After having removed the surplus water from the paper with a cloth,
+sponge or squeegee, apply starch paste to the paper with a paste brush,
+going over it thoroughly, until it has received an even coat of paste
+free from lumps. Then lay one of the back-boards on a table and, having
+placed the strainer down on it face up, give the cloth of the latter a
+coat of paste, using the same care you did in going over the paper,
+taking pains to have the edges of the cloth well pasted, and to
+remove, by passing your finger all around the outside edges of the
+strainer, any paste which may be there. Now pick the paper up and place
+it on the pasted surface of the strainer, which an assistant should
+hold tipped towards you. (The help of an assistant will be found almost
+indispensable in mounting). After the paper is in the proper place, lay
+the strainer down and secure each corner of the paper, by first lifting
+it slightly and then rubbing it down with a clean cloth from the
+direction of the centre towards the corner you have lifted up. With a
+sharp knife trim off the edges of the paper and set it away to dry, but
+neither near a fire nor in too cold a place. You can very often save
+the remounting of a paper by occasionally glancing at it as it dries
+and by gently rubbing down a little with the fingers any places that
+look as if they would not stick. Very often the paper will be all right
+with the exception of this difficulty at one edge or corner. This is
+invariably the lower part, and is caused by the water settling there.
+It is therefore advisable to change the position of the strainer two or
+three times as it dries, letting it stand on different edges.
+
+After the paper is dry, if there are any places that have refused to
+stick fast to the cloth, it will be impossible for you to remedy the
+matter, and you must remount it. You proceed, therefore, to remove the
+paper from the cloth. This you do by turning the strainer face down and
+filling the back of it with warm water, allowing it to remain there
+until you think that the paste has become thoroughly dissolved; then
+turn the strainer over and carefully remove the paper. If it should not
+come off readily, fill the strainer again with water, and soak it until
+it will come off. After you have removed the paper, lay it on a wet
+cloth, and with a case knife clean off the starch, using care not to
+injure the surface of the paper, and also clean off the starch from the
+strainer; then proceed to remount as before. When you once understand
+that you cannot spoil an enlargement on account of defective mounting,
+you will work more confidently. After you have tried three times to
+remount, and the paper still insists in not sticking, you must take a
+new strainer, as too many wettings will have spoilt the cloth and wood.
+Sometimes there seems to be a difference in the stretching qualities of
+the enlargement and cloth, which makes it impossible to produce a
+perfect cohesion. When, therefore, it has been remounted three times
+and does not come out perfect, your best course is to mount a piece of
+crayon paper on a new strainer, and after it is thoroughly dry to then
+mount the enlargement on that. This you do in the manner described for
+mounting in the first instance, directly on the strainer, except that
+you do not coat with paste the crayon paper already mounted.
+
+It sometimes happens, that after the paper has been mounted and dried,
+it is discovered that lumps in the paste have caused defects to appear
+on the face of the paper in the shape of raised surfaces that unfit it
+for the intended purpose. These can be entirely removed by wetting the
+back of the strainer with some clean water immediately behind where the
+lumps of paste are, and with a knife scraping the cloth a little at
+these places; the surplus paste will work itself out through the cloth.
+
+The starch paste used in mounting should not be made very thick; on the
+contrary, it should be as thin as is consistent with still retaining
+all its adhesive qualities. Should you fear that it is too thick or
+lumpy, strain it through a piece of cheese cloth. In a former edition
+of this book I advised adding to the paste a little white glue
+dissolved in warm water, but I do not now consider this necessary for
+crayon paper or photographic enlargements, and do not recommend its use
+except for mounting paper of unusual thickness.
+
+The foregoing directions for mounting apply to platinum or silver
+enlargements, crayon or other kinds of paper, but not to bromide
+enlargements. The bromide paper requires a different method of handling
+on account of the gelatin surface, which when wet is destroyed by
+contact with any dry substance, as the latter removes the gelatin.
+
+For determining the proper position of photographic enlargements (bust
+pictures) on the strainer, the following scale will be useful as a
+general guide. When the size of the strainer is 16x20, 20x24, 22x26, or
+25x30 inches, the distances from its top to the top of the head of the
+portrait should be respectively 3-1/2, 4, 4-1/2 and 5-1/2 inches.
+
+
+
+
+MOUNTING BROMIDE ENLARGEMENTS.
+
+
+The first requisite for this is a water-tight tray, large enough to
+hold the enlargements. A hard rubber tray can be purchased, or a wooden
+one that will answer the purpose may be made. I use one of my own
+construction that is cheap and serviceable. It is simply a wooden box,
+27x32 inches and 4 inches deep, made of 1/2 inch grooved material and
+lined with black oil cloth, not cut at the corners, but folded in. In
+this, when about half full of water, lay the enlargement face up, and
+let it remain in the water fifteen minutes. It should then be laid face
+down on the wet cloth (which should be all ready) as described in the
+preceding chapter, for mounting crayon paper. Care must be exercised to
+have the cloth wet all over, for if there should be any dry spots in it
+they would ruin the gelatin surface. With a cloth or squeegee remove
+the water from the back of the enlargement and also from the cloth
+around its edges, for if there is too much water on the edge of the
+cloth it will work up into the paste and prevent it from sticking when
+mounted. Now paste the enlargement and strainer according to the
+directions given for mounting crayon paper, place the enlargement on
+the strainer and rub it down by using the fingers wet in a little
+water, or the squeegee can be used; and then trim off even with the
+outside of the strainer. Avoid rubbing too hard along the edges, as by
+so doing you will press out all the paste and it will not stick.
+
+You can remount a bromide enlargement as often as necessary in case it
+does not come out perfect, only bear in mind that you must not allow
+anything dry to touch the surface when wet. But I should not advise you
+to try more than three times directly on the strainer. It would be
+better to mount a piece of crayon paper on a new strainer, and after it
+is dry to remount the bromide enlargement on that.
+
+
+
+
+OUTLINES--NEGATIVE OUTLINE.
+
+
+After the crayon paper has been mounted on the strainer and dried, the
+next step is to obtain the outline. I will first treat of free-hand
+crayons, taking it for granted that the reader is not able to produce
+crayons from life, but works from a photograph. There are five
+different methods of making an outline, from which the reader can make
+his own selection.
+
+[Illustration: NEGATIVE OUTLINE--DARK CHAMBER.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Make a negative from the photograph that is to be enlarged, and
+construct for a room that is entirely dark, with the exception of one
+window, a dark inside shutter, with an opening in it the size of the
+negative you intend to use. Place a cleat on each side and at the
+bottom of this opening, so that the negative may be made to slide in
+front of it. Having removed the ground glass from your camera box,
+fasten the latter against the shutter so that the opening comes in the
+centre of the box. You can fasten it with four hooks and eyes, or
+arrange cleats on the shutter and pieces on the box, so that it will
+slide into place. Be sure and have the box come tight against the
+shutter so that the light will be entirely excluded. Place the negative
+over the small opening in the shutter and adjust the camera box; then
+stand the easel with the crayon strainer on it at the proper distance
+to give the required size of the enlargement and focus the image sharp
+on the crayon paper. The strainer must stand at the same angle as the
+shutter; that is, if the shutter is perpendicular then the strainer
+must stand perpendicular also. Then go over the outline and shadow
+lines with the charcoal, after which open the shutter and examine the
+outline and see if it is right. As you are working in the dark you are
+apt to overlook some lines. If you have done so you can close the
+shutter again and make them. If it proves to be all right go over it
+with the crayon point No. 2.
+
+
+
+
+MAGIC LANTERN OUTLINE.
+
+
+[Illustration: McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+[Illustration: MAGIC LANTERN OUTLINE.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+This is the method I am using at present in my own free-hand crayon
+work, and prefer because it does not require a negative. I use a
+McAllister Magic Lantern, No. 653, with a wonder camera attachment.
+This attachment enables you to make an enlargement from a cabinet or
+card photograph, and to dispense with a negative. If you intend to do
+very much free-hand crayon work I should advise you to get one, as it
+will soon pay for itself. The lantern should be put in working
+condition according to the printed directions that come with it, and
+placed on your table. I use a table six feet long, sixteen inches wide,
+and thirty inches high. Nail to one side of the table, four inches from
+the end, a stick six feet long, one inch wide, and one-half inch thick,
+using two two-inch brads. One end of the stick should rest on the
+floor, care being taken that it stand perfectly perpendicular, a square
+being used if necessary to secure this result. The stick will have a
+length of 42 inches above the table, which will be ample for the use of
+a 25 by 30 strainer. Place the strainer, with the crayon paper mounted
+on it, facing outward on its bottom edge on the table and nail it fast
+to the stick with two brads, letting it stand at right angles with the
+edge of the table with its back towards the lantern, which is at the
+other end of the table. The object of placing the strainer with the
+back towards the lantern is that the image must show through the
+strainer or the outline would be drawn reversed. Draw a charcoal mark
+on the back of the strainer vertically through the centre, and mark the
+proper distance from the top of strainer horizontally where the top of
+the head should come. Now move the lantern until you have it the proper
+distance from the strainer to make the head the size desired, and
+afterwards focus the features sharp and distinct, using the charcoal
+marks for the proper place to make the head, the vertical line coming
+through the centre of the face; then, seated at the end of the table,
+in front of the strainer, make a charcoal outline as in the former
+method.
+
+Of course the magic lantern can be used for producing an outline only
+at night, or in a perfectly darkened room.
+
+The following table will prove a safe guide to follow in determining
+the size of the head for bust pictures. The distance from the roots of
+the hair on the forehead to the bottom of the chin should be:
+
+    For 14 by 17 inch pictures, 4     inches,
+     "  16  " 20   "     "      4-1/2   "
+     "  18  " 22   "     "      5       "
+     "  20  " 24   "     "      6       "
+     "  22  " 27   "     "      6-1/2   "
+     "  25  " 30   "     "      7       "
+     "  29  " 36   "     "      7       " showing the hands.
+
+
+
+
+TRANSFER OUTLINE.
+
+
+For this method an enlargement made from the photograph is required,
+but it needs to be an enlargement of the head only--that is, a 11x14
+inch enlargement of the head will answer for a 25x30 inch crayon
+portrait, and serve as a guide to work from in making the crayon.
+
+Transparent tracing paper (made of fine tissue paper, oiled with
+clarified linseed oil and then dried,) is laid on the enlarged
+photograph, and the outline gone over with a soft lead pencil. The
+tracing paper is then turned and its back is rubbed all over with
+charcoal, when it is laid charcoal side down on the mounted crayon
+paper, and carefully fastened with four thumb tacks. The lines first
+made are then gone over with a sharp pointed lead pencil. When the
+tracing paper is removed a perfect outline in charcoal is found to have
+been made. This should then be gone over with the crayon point No. 2.
+The rest of the portrait is sketched in from the original picture.
+
+
+
+
+THE METROSCOPE
+
+
+Comprises a series of squares accurately engraved upon the finest plate
+glass by machinery. The two plates of glass (of which one form of the
+instrument consists), are ruled for convenience with squares differing
+in size. These are framed and held together by thumb screws, allowing
+sufficient space between them for inserting and securing a picture the
+size of a cabinet photograph. The lines are thus brought into such
+perfect contact with all parts of the photograph so that they appear to
+be drawn on it. One feature of this instrument which renders the square
+system very practical, consists of the division and sub-division of the
+squares by dotted lines and dash lines. The eye naturally divides a
+line or space into halves and quarters, and for this reason the dash
+lines have been designated for quartering the main lines, and the
+dotted lines for quartering the squares thus formed. This gives sixteen
+times as many squares for use as are drawn upon the photograph.
+
+A method based on the same principle as the metroscope, but not
+requiring the use of that instrument, may be pursued, as follows:
+Fasten the photograph to a board, mark the space at the top, bottom and
+sides into one-quarter inch divisions, and drive sharp pointed pins in
+each of the division marks. Taking a spool of white thread run it
+across vertically and horizontally from each pin to the one opposite,
+and you will then have the photograph divided into one-quarter inch
+squares; then, if your enlargement is to be six times the size of the
+photograph, take the mounted crayon paper and divide the sides and top
+and bottom in 1-1/2 inch squares, run thread across the same as for the
+photograph, and then proceed to draw the outline, first in charcoal,
+and afterwards with the crayon. The spaces marked on the crayon paper
+should in each case, of course, be as many times greater than those
+marked on the photograph as the intended enlargement is greater than
+the photograph.
+
+
+
+
+THE PANTOGRAPH.
+
+
+This instrument for enlarging or reducing a picture was invented about
+the year 1603. It consists of four metallic or wooden bars or rules,
+which are perforated by a series of holes (numbered from 1 to 20), and
+connected together by means of an adjustable thumb screw. The
+instrument is provided with a tracing and a marking point, and a screw
+or point which is forced into the drawing board to hold the instrument
+in position. A good pantograph will cost about two dollars; those of a
+cheaper grade are entirely worthless for practical use, while a good
+one will last a life time. A little experience will enable any one to
+learn the use of the numbers.
+
+To employ the instrument select the number on the bars corresponding to
+the number of times the subject is to be enlarged, and connect the
+adjustable ends of the bars so that they intersect at this number;
+secure the pantograph to the drawing board at the left hand side; place
+a piece of manilla paper at the other end of the board and secure it
+with thumb tacks, taking care to smooth all the wrinkles out. Next
+adjust the marking point in the centre of the paper; and secure the
+photograph to the board so that its centre shall be directly under the
+tracing point, which should always touch it. If it does not do so at
+first, place a little weight on the instrument over this point heavy
+enough to bring it in contact with the photograph. Now guide the
+instrument, by taking hold of the tracing point while at the same time
+you watch the marking point. In this manner go over the entire
+photograph, putting in all the details necessary, after which you can
+transfer this outline to the crayon paper by means of the tracing paper
+according to the former method given for transferring an outline.
+
+These are all the best methods of producing an outline. In each of them
+you fasten the charcoal lines with the No. 2 crayon points, and then,
+having brushed off the charcoal, proceed to put in the background for
+your portrait. This you do by any one of the methods given in the
+following pages.
+
+
+
+
+FOUR METHODS OF MAKING THE BACKGROUND.
+
+
+The background can be made first, with the crayon sauce and the use of
+the large gray stump and rubber eraser; second, with the cotton and
+rubber, by using the cotton in applying the crayon sauce to put in the
+dark places in the background, and then finishing with the rubber;
+third, by the use of the line effect; and fourth, by the stipple
+effect, produced by the use of pumice stone. This last I consider far
+superior to any of the others, as it changes the appearance of the
+surface of the paper entirely, and produces an effect altogether
+different from that ordinarily shown in a background. It is also free
+from the mussy, dirty appearance which is produced by the use of the
+cotton and crayon sauce alone. I have been repeatedly asked by both
+amateurs and professionals what kind of paper I use in free-hand
+crayons. The inquiry arose from the fact that treating the paper by the
+fourth method changes the appearance of the surface of the paper and
+also its color. I have never before, however, given to the public, nor
+even to my pupils, the secret of this process. When the pupil has
+mastered it so as to once produce the satisfactory effect of which it
+is capable, he will find that it has all the advantages I claim for it
+and is a secret well worth knowing, in fact, what would be termed one
+of the tricks of the profession, and a very valuable one. I must
+confess, however, that I discovered it by an accident. I had been
+experimenting for years in making backgrounds in order to produce an
+effect that was entirely satisfactory to me, and had failed to reach
+just what I wanted. One day, however, I was at work on a portrait that
+I was very particular with, but the background of which proved quite
+unsatisfactory to me. In despair I threw on a handful of pumice stone,
+intending to entirely remove the background by its aid, when, to my
+surprise and delight, I found I was producing the very effect that I
+had been seeking for years, namely, one rendering the background of a
+different color from the face and giving it a clear, transparent
+appearance, so that the eye seemed to penetrate it, quite different
+from the opaque, almost dirty backgrounds, resulting from the use of
+other methods.
+
+I will treat each of these methods in separate chapters further on.
+
+
+
+
+FREE-HAND CRAYONS AND THOSE MADE FROM PHOTOGRAPHIC ENLARGEMENTS.
+
+
+The principal difference between the appearance of free-hand crayons
+and those that are made over a photographic enlargement, is that in the
+former the shadows are lighter and more transparent. In the matter of
+feeling, however, the free-hand crayon is much more satisfactory to the
+artist for he knows it is all his own work, and that he has not
+depended on the photographic enlargement to help him make the portrait.
+
+After the outline has been drawn, in making a free-hand crayon, the
+portrait is still not yet in the same state of advancement as a silver,
+platinum or bromide enlargement; for the reason that the latter not
+only has the outline, but also the faint impression in light and shade
+of the rest of the portrait. I will, therefore, in the next chapter,
+give instructions for filling in the free-hand crayon up to such a
+degree of light and shade as shall put it in the same condition as the
+enlargement. From that point on the same directions (to be subsequently
+given) for finishing the portrait will apply equally to both the
+free-hand crayons and the enlargements, except that the bromide is
+understood to require special treatment.
+
+The frontispiece was made from a free-hand crayon which was executed on
+Steinbach crayon paper with a magic lantern outline. This shows the
+stipple effect in the face and drapery, and a broken line effect in the
+background. The student will notice the difference between this
+illustration and that facing page 81, which was made from a bromide
+crayon. In the bromide crayon the shadows are dark and strong, while in
+this they are lighter and more transparent.
+
+
+
+
+FILLING IN THE FREE-HAND CRAYON.
+
+
+Having your crayon outline already made on the mounted strainer, lay
+the latter down on the table face up, and proceed to put in a pumice
+stone background with the crayon sauce according to instructions
+hereafter given on page 70 for producing that kind of background,
+making sure that you go entirely over the outline. Then place the
+strainer on the easel, and after putting in the cloud effect take the
+chamois block in your left hand, and, with a tortillon stump in your
+right, put in the shadows in a strong, clear and decided manner.
+Commencing on the hair, put in the broader shadows first, working the
+stump in the same direction that the lines of the hair go, and endeavor
+to give the soft flow that the hair should have, avoiding making lines
+or any attempt to make individual hairs. The eyebrows should then be
+put in in the same way as the hair, care being taken to preserve the
+form; then the eyes, beginning with the upper lids, putting in the
+lines between the eye and the lid, and also the second line forming the
+lid. Do not line in the lower lid between the eye and the lid, but put
+in the under line of the lower lid. Next form the pupil, placing it in
+the centre of the iris, making it very dark; then the iris, noticing
+in particular that the upper lid throws a shadow on the top of the
+iris; then the shading of the nose and nostrils and shadows under the
+nose. The mouth is the next important feature, and, as there are no
+decided lines in it, you must put in none, but have the degrees of
+light and shade form the mouth. Begin with the corners, and notice
+carefully that here lies nearly the whole expression of the lower part
+of the face; next treat the central point of the lips and complete the
+mouth; then make the shadows around the mouth and chin, after which,
+put in the ears, and then model up the face, making all the shadows
+broad and decided, leaving the details for the finishing touches, but
+being careful in the modeling to retain all of the values. Next put in
+the clothes with the large stump, sweeping it gently across the lights
+in different directions, allowing the lines to cross each other
+occasionally. Carefully preserve the form in this, giving the proper
+shape to the lapels of the coat or folds in the dress, and to the arms.
+Avoid detail and do not carry the clothes as far down as you want them
+to show in the finished picture. Lace work should not have too much
+detail, but be made somewhat indistinct; only show a few of the forms
+out sharp and defined, giving the pattern.
+
+
+
+
+LINE EFFECT.
+
+
+This can be produced in crayon portraits made over a photographic
+enlargement, or in free-hand crayons after the filling in just
+described has been done. 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 represent 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, as that is the way the
+grain of the board would be. If we should take the same board and bend
+it in the form of a circle, we would in order to represent the board in
+that position, draw lines running in a circle to correspond with the
+grain and position of the board. The idea to be impressed is, that when
+we want to represent an object with crayon and that object is flat, we
+draw straight lines to represent its surface; and when the object is
+round or partly so, we draw curved lines, conforming them 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 light places of an object we will see its grain or
+texture, and that grain or texture will gradually become obscured as it
+enters the shadow until it is entirely lost in the deepest shadows.
+This grain will not show in nature as decided where the strongest
+lights are as it will in the half shadows; and, therefore, in the
+crayon representation the grain effect should show more decided in the
+half shadows. If your crayon is not true in this respect, it will
+appear coarse and fail to please as a work of art on account of its
+falsity to nature. The line effect is produced throughout the whole
+picture, in the background, face and dress.
+
+
+
+
+STIPPLE EFFECT
+
+     _On a photographic enlargement or a free-hand crayon after
+     the outline and masses of light and shade have been made
+     with the tortillon stump, as explained on page 55._
+
+[Illustration: LINES TO PRODUCE THE STIPPLE EFFECT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+When putting in a background with the pumice stone as described in the
+fourth method on page 70, treat the whole surface of the paper with
+pumice stone in order to raise the grain of the paper, but go over the
+face lightly. Then place the strainer on which the portrait is mounted
+on the easel, and put in the shadows with the tortillon stump,
+producing the lights with the eraser; finish with the No. 0 crayon. But
+instead of producing a diamond effect, as you did with the lines, you
+now want to have a stipple effect, which is that of small black and
+white spots; the paper producing the white spots, and the crayon the
+black ones. To produce this make the lines in the shadows and
+half-shadows, but not in the light places, in the manner shown in the
+illustration on the following page; instead of crossing them to form
+diamonds, using short lines and varying their direction and
+intersection with reference to the ultimate effect; then rub them with
+the end of the finger. In finishing, gradually divide up all the small
+light parts with the pencil and the dark with the eraser: if it is
+necessary at any time to rub the crayon, use the end of the finger
+instead of the cotton. Be careful not to get too much crayon on the
+paper, that is, you must not "force up" or be compelled to make the
+shadows too dark by the use of the crayon; they should be made as dark
+as necessary with the stump before finishing. Should you find in
+finishing that they are not dark enough, use the stump to make them
+darker, as the pencil is only intended to give the stipple effect, and
+should be used in a very light and delicate way. Continue the process
+of finishing according to the directions hereafter given for bromide
+enlargements. The foregoing illustration is the first or ground work
+for the stipple effect produced by the aid of the fingers. To obtain
+this effect without rubbing with the fingers, make small black dots,
+instead of the lines shown above, until the desired effect is produced.
+The latter method results in a coarser stipple effect, but it requires
+a much longer time and is more difficult than the former.
+
+
+
+
+BACKGROUNDS--GENERAL PRINCIPLES.
+
+
+Always commence the portrait by putting in the background. Among the
+four different methods which I have given, the student can make his own
+selection. For myself, I prefer the last two mentioned.
+
+There can be no definite rule given for the lights and shadows in the
+backgrounds, as every portrait will need a characteristic background
+adapted to the subject. There should always be a nice disposition of
+light and shade, the light coming against the dark side of the face and
+the dark against the light side, and generally a cast shadow. What this
+is may be learned by setting a cast (or any other object) near the
+wall, letting the light strike it at an angle of 90 degrees, and
+noticing the size and position of the shadow thrown on the wall. The
+cast shadow in your background must not be too near the head, as
+simplicity should be one of the principles of the background, and this
+can only be attained by breadth of light and shade. The background is
+of secondary importance, and should not intrude itself on the portrait
+in its effect of lines or light and shade. Backgrounds for half or full
+length figures need especial study in their effect of lines, and one
+who intends to succeed in making them properly should study linear
+composition in Burnet's essay on Composition,[A] especially the
+following passages. "Composition is the art of arranging figures or
+objects so as to adapt them to any particular subject. In composition
+four requisites are necessary--that the story be well told, that it
+possess a good general form, that it be so arranged as to be capable of
+receiving a proper effect of light and shade, and that it be
+susceptible of an agreeable disposition of color. The form of a
+composition is best suggested by the subject or design, as the fitness
+of the adaptation ought to appear to emanate from the circumstances
+themselves; hence the variety of compositions.
+
+"To secure a good general form in composition, it is necessary that it
+should be as simple as possible. Whether this is to be produced by a
+breadth of light and shade, which is often the case with Rembrandt,
+even on a most complicated outline, or by the simple arrangement of
+color, as we often find in Titian, or by the construction of the group,
+evident in many of Raphael's works, must depend upon the taste of the
+artist. It is sufficient to direct the younger students to this
+particular, their minds being generally carried away by notions of
+variety and contrasts.
+
+"In giving a few examples of composition, I have confined myself to the
+four simple and principal forms, not only from their being most
+palpable, but also from their possessing a decided character, which is
+at all times desirable. To those who imagine that such rules tend to
+fetter genius, I shall merely quote Sir Joshua Reynolds, whose works,
+if properly understood, render all other writings on the subject of
+painting superfluous: 'It must of necessity be that even works of
+genius, like every other effect, as they must have their causes, must
+likewise have their rules. It cannot be by chance that excellencies are
+produced with any constancy or any certainty, for this is not the
+nature of chance; but the rules by which men of extraordinary points,
+and such as are called men of genius, work, are either such as they
+discover by their own peculiar observations, or are of such nice
+texture as not easily to admit being expressed in words; especially as
+artists are not very frequently skillful in that mode of communicating
+ideas. Unsubstantial, however, as these rules may seem, and difficult
+as it may be to convey them in writing, they are still seen and felt in
+the mind of the artist, and he works from them with as much certainty
+as if they were embodied, as I may say, upon paper. It is true these
+refined principles cannot be always palpable, like the more gross rules
+of art, yet it does not follow but that the mind may be put in such a
+train that it shall perceive, by a kind of scientific sense, that
+propriety which words, particularly words of unpractised writers such
+as we are, can but very feebly suggest.' (Sixth Discourse)."
+
+FOOTNOTES:
+
+[Footnote A: Essays on Art, by John Burnet, New York, E. L. Wilson.]
+
+
+
+
+FIRST METHOD OF MAKING THE BACKGROUND--STUMP EFFECT.
+
+
+To produce the stump effect, rub the chamois block in the box of crayon
+sauce, and then with the large grey paper stump commence by putting in
+the darkest parts and the cast shadow. Use the broad end of the stump,
+moving it over the surface of the paper with an even and uniform
+pressure, so that you will not make any dark spots. Make broad lines
+and have them cross each other so as to form diamond shaped spaces,
+using considerable care and a very light touch in the lighter places.
+Finish with the large rubber eraser, cutting it so that it will make
+white lines about the same width as the black lines made with the
+stump. Have these light lines run into the dark ones in some places,
+and use the rubber so as to produce a dashing effect.
+
+
+
+
+SECOND METHOD OF MAKING THE BACKGROUND.
+
+
+Take a handful of cotton batting, rub it in the box of crayon sauce,
+and then on a piece of paper before applying it to the crayon paper to
+make the background, being careful to avoid rubbing harder in some
+places than others, as dark spots are likely to be caused in that way.
+Commence by rubbing in close to the face and work out towards the edge
+of the paper. Let the darkest part be closest to the face, shading out
+in the form of a circle about six or eight inches from the face,
+according to the subject, the upper line of the arc coming a little
+above the head. Then make the cast shadow and finish with the large
+rubber eraser, putting the lights, or cloud effect, as it is called, in
+the background. When doing this, place the strainer high enough on the
+easel to bring the centre of the picture on a level with your eyes,
+then standing in front of it and about six feet off, decide upon your
+plan of light and shade. After you have put in the first of the lights,
+step back to the former position, and see if it gives the proper
+effect. Continue this method of working until the background is
+entirely completed.
+
+
+
+
+THIRD METHOD OF MAKING THE BACKGROUND--LINE EFFECT.
+
+
+With the cotton and crayon sauce as in the preceding method, put in the
+dark places and cast shadow, but not as dark as you want them when
+finished; then with the crayon point No. 2 put in three sets of lines
+thus:--
+
+[Illustration: BACKGROUND. LINE EFFECT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Do not carry out the lines as far as the background will extend when
+finished. The lines should be one-quarter of an inch apart in life-size
+portraits, and a little closer in smaller sizes. As a rule the lines
+are a little further apart in the background than in the face. These
+lines need not be horizontal, crossed by oblique ones at obtuse angles,
+but they can be curved lines, if desired, provided they cross each
+other so as to leave diamond shaped spaces. After the lines are in rub
+a piece of clean cotton over them all, using pressure enough to subdue
+them to the degree of indistinctness desired; then finish with the
+large eraser and crayon point No. 2, putting in the cloud effect. Such
+lines as show too prominently you subdue with the nigrivorine eraser.
+If there are any light places, make them dark with the crayon.
+
+The background should be very indistinct on the edges, and be vignetted
+in the shape of an oblong, having some very light clouds above and on
+either side of the head. Let there be a nice contrast between the face
+and the background, having light come against dark and dark against
+light; that is, when one side of the face is dark and one side light,
+have the background light against the dark side, and dark against the
+light side; when light and shade are about equal on both sides of the
+face, have the background about the same shade on both sides, without
+too decided a cast shadow. If you have a subject that has gray hair,
+have the background darker than it would be otherwise. The background
+should never be darker at any place than the shadows in the face, and
+close to the face it must be a shade between the light and half
+shadows. Never resort to the practice of leaving the background white,
+as this will only give a hard, stiff appearance. Clean off the outside
+edges of the background with a clean piece of cotton and the pumice
+stone.
+
+
+
+
+FOURTH METHOD OF MAKING THE BACKGROUND--STIPPLE EFFECT.
+
+
+Lay a piece of manilla paper on the table about twelve inches larger on
+each edge than your strainer, placing the strainer on it face up; rub a
+handful of cotton batting first in the crayon sauce and then on the
+manilla paper to remove any foreign substance. Then apply the cotton
+with a circular motion to the crayon paper to make the background
+desired. Next sprinkle the pulverized pumice stone over the entire
+background, and go over this with the fingers in a circular movement,
+using them flat from the second joint to the ends; then lift the
+strainer up, and, resting it on the edge, jar off all the pumice stone,
+and when this is done, lay it down again and rub it off with a clean
+piece of cotton. Now rub the fingers in the crayon sauce, keeping them
+flat so that it will adhere evenly to them, and go over the background
+lightly as when rubbing in the pumice stone and you will produce a nice
+stipple effect. Finally, place the strainer on the easel, and finish
+according to the directions given for finishing crayons made on bromide
+enlargements.
+
+Of course it will need considerable experience before you can succeed
+in doing this perfectly, but patience and perseverance will ultimately
+accomplish the desired end. There are two matters of importance to be
+borne in mind in making these backgrounds--first, do not have any
+small, hard pieces of crayon on the cotton when you rub it on the
+paper, and second, use the fingers in as flat a position as possible,
+for if you do not have them flat down on the paper you are likely to
+make dark spots in the background.
+
+
+
+
+FACE--LINE EFFECT.
+
+
+[Illustration: LINE EFFECT FOR FACE.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Commence on the hair with the crayon point No. 2, and put in all the
+shadows and half-shadows, carefully preserving the lines of direction,
+but avoid working over the lights more than necessary; then with the
+crayon point No. 1 strengthen all the shadows about the eyebrows, the
+eyes, the mouth, the chin and the ears. Next put the lines in the face.
+The following illustration shows the lines before they are rubbed. It
+will be well to remember that only two sets of lines are used in the
+face, as shown in the illustration, and the same number in the dress,
+while there are three sets required in the background. The lines in the
+face should be a little closer than those in the background, while
+those in the dress are about the same as those in the background.
+
+In the effect of the lines in the face lie the chief merit and beauty
+of this method of crayon work. When properly drawn, the lines represent
+and give the grain of the flesh in a very beautiful broken effect. They
+are drawn so as to leave spaces shaped like diamonds, but in the
+finishing should be so treated as to lose their regularity, and to have
+the effect of "broken diamonds." If you will examine the back of the
+wrist joint when your hand is bent slightly backward, you will see more
+clearly what is meant by the term "broken diamonds" in the slight
+ridges which show the grain of the flesh. Begin with the forehead,
+using the crayon point No. 1, and put in one set of lines straight
+across, but curving downwards as the forehead commences to round off
+towards the hair at the sides; then one more set of lines in the
+direction that will produce the diamond spaces, continuing these two
+sets of lines throughout the face. These lines intersecting at the
+proper angles will indicate the grain of the flesh, if the line of
+direction be carefully followed. Remembering that the face is not a
+flat surface, make the lines darker in the shadows and lighter as they
+approach the lights. The high lights on the forehead, the nose, the
+highest point of the chin, and around the mouth, should, however, have
+no lines over them.
+
+Having put in these lines take a small handful of cotton, and rub the
+hair and face over both the high lights and shadows, the motion
+following the line of direction; that is, being straight across the
+forehead, curving towards the hair at the sides, and circular on the
+cheeks. Care should be exercised not to rub too hard, it being a common
+fault of the beginner to rub the paper too much, and produce a dirty
+effect. The lines should be merely rubbed until they are somewhat
+blurred and indistinct. Remember that the crayon portrait is made on
+the surface of the paper, and not rubbed into it. After it has thus
+been treated with the cotton, go over the shadows with the crayon point
+No. 1, and rub again with the cotton.
+
+The face of the crayon will now be about three shades darker in the
+lights than it should be when finished, and not quite dark enough in
+the shadows. Finish it with the No. 0 crayon and nigrivorine eraser,
+using the latter wherever a lighter effect is required; also break up
+the regularity of the diamond spaces, and whenever a line shows too
+prominently subdue it with the eraser.
+
+If you would succeed in making good crayon portraits, it will be
+necessary for you to cultivate a light touch with the crayon in
+finishing.
+
+The eraser is one of the principal instruments employed in making
+crayon portraits, and is used the same as if it were a crayon pencil,
+that is, on that principle, the difference being that you make white
+lines with it instead of black ones. Keep the eraser to a sharp point
+in the following manner: take a piece of emery paper about three inches
+square, and place it in the left hand between the index and second
+fingers, holding the fingers about half an inch apart, and bending the
+paper to fit between them; then rub the eraser in the crease thus
+formed, holding it at an acute angle. Sometimes it is necessary to
+sharpen the eraser with a knife or a pair of scissors before rubbing it
+on the emery paper. In working with the eraser on the crayon paper do
+not rub hard enough to remove all the crayon from the surface of the
+paper, except in producing the high lights and the white of drapery.
+Notice in particular in finishing the hair that where it touches the
+forehead there are no lines, as the light and shade should blend
+together so nicely as to leave no decided line between them.
+
+
+
+
+DRESS--LINE EFFECT.
+
+
+[Illustration: LINE EFFECT FOR DRESS.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+The above illustration represents the effect of the lines in the dress.
+In putting them in let every fold, sleeve and lapel have lines of its
+own, that is, lines differing in direction so as to discriminate it
+from the other parts of the clothing. These distinctive lines will lose
+themselves in the wrinkles, in shadows, and in the next fold, where the
+lines will have a different direction. The illustration is very crude,
+as it shows the lines before they are rubbed with cotton; after that
+process they have quite a different appearance. In men's clothing the
+lines may be drawn a little farther apart than in the treatment of the
+finer texture of ladies' garments. After you have put in the lines with
+the crayon point No. 2, go over them with a piece of cotton previously
+rubbed in the crayon sauce, and then complete this part of the work by
+the use of a dull eraser for the smaller lights, and the chamois for
+the broad lights.
+
+The crayon is now in good condition for finishing, which you will
+proceed to do by the use of No. 0 Conte crayon and the nigrivorine
+eraser, softening the lights with the former and the shadows with the
+latter, until you have the whole portrait subdued, and no decided lines
+of light and shade. Of course throughout these processes you must pay
+close attention to all the characteristic points in the likeness, so
+that the crayon will be a true and life-like reproduction. Do not sit
+too close to the crayon in finishing; if you do, you will be
+disappointed when you come to look at it from a slight distance, and
+will not find at all that enchantment which distance is said to lend to
+the view, as the crayon will disclose a spotty effect, and too great a
+contrast between the lights and shadows.
+
+
+
+
+BROMIDE CRAYONS.
+
+
+In the bromide enlargement, while the paper has to undergo all the
+different manipulations of development, fixing and washing, that the
+platinum and silver enlargements do, yet the gelatin is not removed,
+and, when dry, remains as a strong sizing to the surface of the
+paper--in fact, so strong, that in some of the different kinds of
+bromide paper the surface is very nearly as hard as glass, and,
+therefore, the crayon cannot be used upon it with good results until it
+has received a special treatment, as the crayon would only make a black
+scratchy mark.
+
+It has been said that the bromide paper and enlargement were entirely
+different from the platinum or silver enlargement and the crayon paper.
+While there is not as much difference between the bromide and other
+enlargements as there is between the former and the crayon paper, there
+should be this difference: the silver or platinum enlargement should
+only be printed strong enough to give the form and the larger details
+in the negative, while the bromide enlargement must be as nearly a
+perfect photograph as can be produced from the negative.
+
+[Illustration: FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE--STIPPLE EFFECT THROUGHOUT. BY J. A.
+BARHYDT.]
+
+From the fact that, on account of the difference in the surface of
+the paper, there cannot be as much crayon put on the bromide
+enlargement as on the other kinds of paper, and that, therefore, it
+cannot be strengthened to the same degree in the shadows without
+spoiling the nice transparent effect that a bromide should have there,
+it follows that the best bromide crayons are those on which the least
+crayon is used to produce the desired effect. The bromide paper, on
+account of the gelatin surface, will not take the crayon from the stump
+as readily as the other kinds of paper; but after the surface has been
+treated with the pumice stone this objection is removed, and the paper
+can be worked on with the stump readily. I can say from my own
+experience, that for producing a crayon over a photographic enlargement
+with the stipple effect, it has no equal in the beauty of finish and
+rapidity of execution.
+
+The illustration facing this page was made from a crayon executed over
+a bromide enlargement from the original negative. Better results can
+always be reached in a bromide enlargement when it is thus made from
+the original negative. The student will notice in particular the
+stipple effect in the reproduction.
+
+
+
+
+FINISHING BROMIDE ENLARGEMENTS.
+
+
+Examine the enlargement mounted on the strainer, looking at it from the
+side, to learn if there is any starch on the surface of the paper
+before commencing work on it. If there is any, carefully wash it off
+with a sponge and some clean water, and then set the enlargement aside
+until it has thoroughly dried. Then lay it down on the table with a
+piece of manilla paper under the strainer about 12 inches longer on
+each edge than the latter; take a handful of cotton, first rubbing it
+thoroughly in the crayon sauce, then on the manilla paper, and finally
+going over the surface of the enlargement with it in a circular motion.
+Then sprinkle pumice stone over the portrait, and using the ends of the
+fingers flat, rub it over the entire surface of the paper. This
+treatment cuts through the gelatin surface and prepares it for the
+stipple effect. Now stand the strainer on its edge and jar the pumice
+stone off, after which lay it down on the table, and with a piece of
+clean cotton lightly brush off the surface; then, having rubbed the
+finger ends in the crayon sauce, go over the entire surface of the
+enlargement, holding them flat, and you will produce a fine stipple
+effect.
+
+If the shadows need to be darker, use a little more crayon on the
+fingers; also put the cast shadow in the background, applying the
+crayon with the fingers.
+
+Before proceeding further it will be well to note that the crayon is
+entirely on the gelatin surface, and that the photographic image is on
+this surface also, and not on the paper itself; therefore, under the
+image and the gelatin you have the pure white paper. I call attention
+to this in order that you may work with a better comprehension of the
+materials you are using.
+
+You now have four surfaces. First, the muslin cloth of the strainer;
+second, the starch; third, the white paper; fourth, the gelatin.
+
+Knowing that the gelatin has a hard surface, you are prepared to learn
+that the crayon will come off from the bromide much more easily than
+from the other kinds of paper. These had but three surfaces, while the
+bromide has a fourth--a very hard one--between the crayon and the
+paper, and on account of its hardness it will need different treatment
+in its manipulation. Therefore you use the fingers in applying the
+crayon sauce, and, when it is necessary to make a place light, you do
+so with the cotton, chamois or eraser. Should you find it necessary to
+make a place white where it is dark, you can remove the photograph
+entirely, as this is on the gelatin, scraping it off down to the white
+paper with a sharp knife.
+
+Resuming the process of finishing, place the enlargement on the easel
+and put in the cloud effect with the large eraser, then lay it on the
+table again, and clean it off about four inches from the edge all
+around with pumice stone and a fresh piece of cotton where you have
+rubbed with the eraser, and blend the background into this four inch
+space. Return the enlargement to the easel again, and with the broad
+eraser clean up the lights throughout, and with the cotton and pumice
+stone blend them into the shadows; then with the peerless stump, crayon
+sauce and fingers strengthen the larger shadows, using the nigrivorine
+eraser when necessary to clean up the lights, and the tortillon stump
+for the work in the smaller shadows, if it is required to make them
+darker. Now with the No. 0 crayon finish the face by completing the
+stipple effect in the patches of light and shade. You will have a good
+guide in the background for finishing and giving the stipple effect, as
+there you will have this stipple effect quite perfect, especially in
+the light places. This finishing with the No. 0 crayon is the nicest
+part of the work, and when doing it you must keep in mind that you are
+putting in the stipple effect, and that alone; that is, the portrait at
+this stage is supposed to be very nearly right in light and shade and
+expression, and it should not be necessary to strengthen it in the
+shadows by using the No. 0 crayon. You are to cut up or divide the
+portrait into small black and white spots, but do not take out white
+spots with the No. 0 crayon that are larger than the white spots
+desired in the stipple effect; these light places must be cut into
+smaller light spots. If you should take out these white spots (and this
+is an error you must be very careful to avoid), you would produce an
+effect of large dark and white spots that would be entirely wrong, the
+real process being to divide large white and dark spots into smaller
+ones of the same color.
+
+This stipple effect should be worked all over the face with the
+exception of the highest lights, and even these will very often need to
+be worked over except at the single points of the very highest lights.
+In this work you now have an opportunity to demonstrate the theory of
+contrast. Sometimes the enlargement is too dark in the shadows, and
+although you require to have them lighter you have already removed all
+the crayon from the surface, and it still remains too dark. The crayon
+pencil is many shades darker and blacker than the shadows, yet you can
+by its use make them lighter by putting in the stipple effect, as the
+dark touches of the pencil in their contrast with the shadow color
+under them cause them to appear lighter. This is a very essential
+principle to remember in crayon portrait work: that the effect of dark
+against light is to make the light appear lighter, and the dark darker.
+After the face and hair are completed as above, then finish the
+clothes with the peerless stump, eraser and fingers. If there are any
+very dark strong shadows--for instance, under the collar or around the
+neck--put them in with the velours crayon and subdue them with the
+fingers. When at work on the clothes at the bottom of the portrait do
+not finish straight across, but in a circular way. Next taking up the
+background you will discover that there are some large patches of light
+and shade that must be changed and made the required color to
+correspond with the adjoining surface; lean back as far as possible in
+your chair, and join these places together with the pencil and eraser;
+then in the same position finish the face by removing any light or dark
+places, strengthening the eyes, nose, mouth, and any point of the
+likeness requiring a final touch. Remove with the point of your knife
+any small black spots such as sometimes show in the photograph, and
+then with a fresh piece of cotton and pumice stone clean off the edges
+of the crayon all around.
+
+Before regarding the picture as quite complete, examine it by holding
+it at right angles to the light, to see if there are not some marks of
+the crayon pencil that show too prominently. These can be subdued with
+the ends of the fingers. Sometimes in finishing with the No. 0 crayon
+the paper will seem to be gritty so that you can hardly work on it.
+The difficulty is that some of the pumice stone has adhered to the
+surface of the paper. This can be disposed of by rubbing it with the
+fingers. It should be remembered that the pumice stone must be entirely
+removed from the whole surface of the paper, as otherwise it will
+settle in the crayon, and give a dirty gray effect. When, as sometimes
+happens in commencing the portrait, dark or white spots or streaks show
+themselves, do not pay any attention to them until you have entirely
+finished the crayon, then if they are dark, make them the proper shade
+with the eraser, and if light, with the crayon.
+
+
+
+
+MONOCHROMES.[B]
+
+
+These are portraits in one color on porcelain, glass or any hard
+material that has first been coated with gelatin and then photographed
+on. First treat the whole surface with pumice stone as directed for the
+bromide paper, afterwards go over it with the crayon and cotton. Then
+put in the cloud effect in the background, and clean off the lights in
+the face, hair, and clothes with the eraser; next put in the
+half-shadows with the peerless stump; then with a solution of India ink
+darken the stronger shadows throughout the portrait--in the eyes, nose,
+mouth and eyebrows, and finally in the hair. Finish the face with the
+No. 0 crayon and the 4 H. Faber's lead pencil according to directions
+given for finishing bromide enlargements. The Faber pencil is used
+almost exclusively throughout the face. Very nice effects of strong
+light can be made on porcelain by scraping through the gelatin surface
+with the knife. This process is specially adapted to making pictures of
+smaller size, say 10x12, or 11x14 inches, as it produces a very soft
+and delicate effect.
+
+FOOTNOTES:
+
+[Footnote B: For photographic process, see the American Annual of
+Photography and Photographic Times Almanac, 1888.]
+
+
+
+
+VALUES.
+
+
+The matter of values enters into the essential quality of every work of
+art, and especially of a portrait. It is the truth of their rendering
+that will give a faithful likeness. By the term values is meant the
+relations of light and shade to each other. This subject has been so
+admirably treated by John Burnet in his essay entitled "Practical Hints
+on Light and Shade,"[C] that I give his observations on this point.
+
+"Before proceeding to investigate light and shade in their various
+intricate relations, it may be proper to notice a few of the more
+palpable and self-evident combinations; and for the better
+comprehending of which I shall divide them into five parts, viz.:
+Light, half-light, middle tint, half-dark and dark. When a picture is
+chiefly composed of light and half-light, the darks will have more
+force and point, but without the help of strong color to give it
+solidity it will be apt to look feeble, and when a picture is composed
+mainly of dark and half-dark the lights will be more brilliant; but
+they will be apt to look spotty for want of half-light to spread and
+connect them, and the piece be in danger of becoming black and heavy.
+And when a picture is composed chiefly of middle tint, the dark and
+light portions have a more equal chance of coming into notice, but the
+general effect is in danger of becoming common and insipid. Light and
+shade are capable of producing many results, but the three principal
+are relief, harmony and breadth. By the first the artist is enabled to
+give his work the distinctness and solidity of nature; the second is
+the result of a union and cement of one part with another; and the
+third, a general breadth, is the necessary attendant on extent and
+magnitude. A judicious management of these three properties is to be
+found in the best pictures of the Italian, Venetian and Flemish
+Schools, and ought to employ the most attentive examination of the
+student, for by giving too much relief he will produce a dry hard
+effect, by too much softness and blending of the parts, wooliness and
+insipidity, and in a desire to produce breadth of effect he may produce
+flatness."
+
+The student should make a careful study of the values, as upon these
+will depend the entire effect of the portrait and its fidelity as a
+likeness; and the absence of these qualities of rendering light and
+shade are one of the marked features of the work of amateurs, as they
+are apt to make their shadows too dark and their lights too light. You
+should compare the portrait with the photograph you are working from,
+and preserve the same contrasts between the lights and shadows in order
+to produce satisfactory results. The best way of examining your work is
+by the use of a mirror. To the student the mirror is his best critic.
+It is before this silent observer that he submits his work with the
+certainty of receiving an honest criticism. At every step of your
+progress look at your work in a good mirror, as here it is changed
+about, the left side being the right side, and no error will escape
+detection. Sometimes you will see that what appeared true was in
+reality false, what seemed graceful in contour was distorted; here an
+eye which you thought was looking at you quite straight now mocks you
+from the glass in manifest obliquity; the mouth, which you thought had
+a pleasant expression, now looks as disdainful as can be. And so all
+through your work you will be startled; you will doubt the mirror.
+Doubt it not; your work is false. If you will be convinced show it to
+some competent artist, and he will confirm the judgment of the
+impartial mirror. Experience will soon teach you to put such reliance
+on its never capricious council that you will follow its suggestions
+implicitly, and, when your work is altered, the result will satisfy you
+invariably, that, as the proverb says of two heads, so two images are
+better than one. When you have come to this conclusion there is not a
+beauty of eighteen who will consult her glass (though it is true for a
+somewhat lighter purpose,) more eagerly, more devoutly, more
+frequently, or finally, we hope, with more triumphant satisfaction than
+will you.
+
+FOOTNOTES:
+
+[Footnote C: Essays on Art by John Burnet, New York, Edward L. Wilson.]
+
+
+
+
+STUDIO.
+
+
+The amateur is not to consider the selection of his studio or work-room
+of minor importance; the perspective, coloring, and the effect of the
+portrait will all depend, in a great measure, upon the situation and
+dimensions of the studio. It may be said in a general way that the
+larger the apartment the better. To secure the effect which it is
+essential to produce, there should be space enough left behind the
+artist to permit him to step back from six to ten or twelve feet to
+accurately view and see the effect of the portrait. I cannot urge too
+strongly upon the amateur the usefulness of frequently viewing his work
+from a distance. I would gladly save him the disappointment and chagrin
+which I have myself experienced, when having neglected this precaution,
+I have quite finished a portrait only to find it thoroughly
+unsatisfactory when looked at from a greater distance than that at
+which I had worked.
+
+You should choose a room with a north light if possible; if that is not
+available then one with a south light, and the room should be as near
+the top of the house as possible. Let the light be arranged so as to
+strike the easel at an angle of 90 degrees, and if it is a side light
+darken the lower half of the window. Do not have the side walls white,
+they should be a neutral shade; reddish is the best. For work with
+water colors or India ink you need a stand, and be sure and set it so
+that the light will be at your left when you work. Keep the studio as
+free from dust as possible, and when you have finished working for the
+day wash your brushes and place the corks in the water color bottles,
+so as to exclude the dust from them. For crayon work also set the easel
+so that the light is at the left hand.
+
+A word in regard to selecting materials. I have already spoken in
+regard to the selection of photographs for coloring. As to
+brushes--camel's hair will cost only about a third as much as sable,
+and will answer every purpose for beginners; the fine sable should be
+procured after the pupil has advanced sufficiently. In choosing a brush
+for water colors, dip it in a cup of water and draw it over the edge of
+the cup; if it has a little spring to it, and comes to a point readily
+without any of the hair straggling, it is all right; if not, reject it.
+Winsor and Newton's Chinese White is the best white paint. For mixing
+the colors you can get a slant with eight divisions, or a nest of
+saucers. In selecting glass for mounting pictures choose that which is
+free from blisters.
+
+
+
+
+FRAMING.
+
+
+The following directions in regard to framing will, I hope, be found
+advantageous. When framing with a passepartout mat, always use
+
+    For a 16x20 portrait an 18x22 frame,
+     "    18x22    "     "  20x24   "
+     "    20x24    "     "  22x26   "
+     "    24x29    "     "  25x30   "
+
+I make a life-size portrait 25x30 on a 24x29 strainer. The reason for
+using a larger frame than strainer is this: that it invariably happens
+that the head of the portrait will not come in exactly the proper place
+in the opening of the passepartout, and by having the frame two inches
+larger each way you will be able to bring the head wherever desired in
+this opening. When placing the picture in the frame, lay the latter
+face down on a table and put in the glass, which should have been
+perfectly cleaned; lay in the passepartout and fasten it with small
+brads. Then lay the crayon down on the table face up and turn the frame
+over on it, and after you have it in the proper place, draw the picture
+and frame partially over the edge of the table, and from underneath
+mark the back of the passepartout where the edges of the picture come;
+then turn the frame and picture over so that it shall be face down. Now
+cut eight strips of old tin-type metal one-quarter of an inch wide and
+three inches long, making holes at each end of them for the tacks, and
+with these strips fasten the picture in its place by tacking one end of
+each to the strainer and the other end to the frame. Also cut a piece
+of heavy manilla paper the size of the frame, lay it on a board, dampen
+it with a sponge, apply starch paste around each side and the ends for
+a space of six inches, and lay it over the back of the picture and
+frame, pressing it down on the latter; then set it away to dry. This
+will make a neat smooth back which will exclude moth and dust from the
+portrait.
+
+
+
+
+PASSEPARTOUT MOUNTING.
+
+
+The following method will be found useful, especially if you want to
+exhibit a crayon without the expense of framing it. Lay on the mounting
+board a piece of heavy manilla paper somewhat larger than the picture,
+then put the crayon on this face up, next the passepartout, and last
+the clean glass. Mark the size of this on the paper, and then, having
+removed the glass, crayon and passepartout, cut the paper enough larger
+than the marks to allow it to come up one inch all around over the
+edges of the glass; next dampen the paper, and apply the starch paste
+to its edges about six inches all around, then lay the crayon,
+passepartout and glass back where they were on the paper, and bring the
+latter up, lapping it over the face of the glass; cut the corners out
+so as to bring them over properly; rub the edges down thoroughly on the
+glass, and with a ruler and knife trim off the paper, allowing
+one-quarter of an inch margin; then set away to dry. This will put the
+crayon in good condition to be exhibited, and will thoroughly protect
+it.
+
+
+
+
+Transparent Liquid Water Colors for Coloring Photographs.
+
+[Illustration]
+
+
+
+
+TRANSPARENT LIQUID WATER COLORS FOR COLORING PHOTOGRAPHS
+
+
+_Materials Required in Their Use._
+
+    A good photograph, an engraving or photogravure mounted on
+      card-board
+    Camel's hair brushes, Nos. 3 and 5,
+    Sheet of blotting-paper,
+    Small sponge,
+    Clean white cloth,
+    Cake of Chinese white, Winsor and Newton's water color,
+    A divided slant or nest of small dishes for holding the color when
+      mixed,
+    Box transparent liquid water colors,
+    Stick of India ink,
+    Box pulverized pumice stone,
+    Two tumblers for water.
+
+It has passed into a proverb that he is a bad workman who complains of
+his tools. It is certain that good ones simplify work and give better
+results. One of the most important things for successful art-work is to
+have at hand the proper materials and good instruments. In their
+selection do not follow a penny wise and pound foolish policy, but get
+the best you can; and these you will often find not too good.
+
+
+
+
+THEORY OF COLOR.
+
+
+The principles connected with coloring should be understood if one
+desires to produce the most pleasing and harmonious effects in
+painting. The three colors, red, yellow, and blue, with the white of
+the paper, are equal in theory to all the requirements of art in its
+true relation to color. Red, yellow and blue are called primary colors;
+that is, we cannot produce these colors from the combination of any
+others. Orange, purple and green are called secondary colors, and are
+produced by the combination of the primary colors. By the mixture of
+red and yellow we obtain orange, from red and blue, purple, from yellow
+and blue, green. The tertiary colors--broken green, gray and brown--are
+produced by the mixture of the secondary colors. From orange and purple
+we obtain brown, from orange and green, broken green, and from purple
+and green, gray. The three primary colors must always be present in a
+picture to produce harmony. Colors are divided into what are called
+warm and cold colors, the yellow and red being termed warm, and the
+blue cold. Yellow and red produce light and warmth, and it is
+impossible to produce coolness without the use of blue. In painting we
+use the three terms, light, shade and color, because they best express
+the qualities of color. Light is expressed by yellow, shade by blue,
+and color by red. While red is particularly designated as color, we
+must not forget the claims of yellow and blue, as they, together with
+red, complete the primary scale of colors. It is by placing these
+different colors in juxtaposition that we produce the proper qualities
+existing in each of the other colors. It is impossible to produce the
+effect of warmth by red and yellow unless we use the blue in connection
+with them. It is this filling up, or completing the primary scale of
+colors, that gives the term complementary, so often employed in
+speaking of colors. Thus red is said to be complementary to green, as
+green contains the other two colors of the primary scale--blue and
+yellow. Blue is complementary to orange, as orange contains red and
+yellow. Yellow is complementary to purple, as purple contains blue and
+red. The principle of using the complementary color is of the utmost
+importance in painting, or the use of color by any method, and it is on
+this principle that the harmony of color is based. When a painting is
+produced that has the colors red, yellow and blue properly balanced, a
+pleasing and harmonious effect is attained; but if these colors are not
+used in their proper relations, there is a discord, and the work is not
+satisfactory. These rules must be borne in mind by every student in
+coloring, whether he uses oil or water colors. One of the most common
+errors of amateurs is to overlook the red in landscape. Thus trees are
+too green, and the grass is insufferably green: the complementary
+color, red, has been left out.
+
+By the following experiment you may prove that when you see one color
+the eye is in a perfect condition to see its complementary color. On a
+piece of white paper, three inches wide and five inches long, draw with
+a lead pencil an oblong, half an inch from the top, one inch wide, and
+two and one-half inches long from right to left, and a similar oblong
+one-half an inch below the one already drawn. Then draw a six pointed
+star (or any other not too large figure you desire) in the centre of
+the upper oblong, and paint it with vermilion water color. Now look
+intently at the painted star for thirty seconds, and then look at the
+plain oblong below, and you will observe that the latter will gradually
+assume a very beautiful shade of green, the exact complementary color
+of the vermilion, with the figure in white upon it--unless you should
+happen to be color blind. If that is the case, the experiment will
+demonstrate that fact.
+
+
+
+
+COLORS.
+
+
+Transparent water colors are put up in boxes containing nine colors,
+and as you reduce them in the proportion of one part of color to eight
+of water, a single box will last a long time. They can be bought of
+almost any dealer in artist's materials, and are designated as
+Florentine, Egyptian, Grecian, and by other names. Care should be used
+in procuring those which are pure and fresh. The colors are yellow,
+blue, rose, violet, magenta, flesh, brown, gold and black. The labels
+on the bottles give directions for mixing.
+
+
+
+
+YELLOW.
+
+
+Yellow is one of the primary colors and one of the most useful, as it
+enters into the coloring of almost every picture. Transparent yellow is
+very brilliant, and can be used with any other color. Yellow and red
+make orange, yellow and blue make bright green, yellow and black a dull
+green. In landscapes, yellow is used in the middle distance with blue
+and rose and magenta. In the foreground it is used with blue and black
+for green, and is especially adapted for brilliant touches of foliage,
+grasses, and light places in the ground. In portraits a very little can
+be used in the reflected lights on the faces, and, when mixed with
+brown, for light shades of hair and eyebrows; for light dresses, used
+weak, it makes a very nice cream color. It can also be used very weak
+for laces, the strong lights being afterwards touched up with Chinese
+white, but not when the picture is to be mounted on glass. This color
+will ordinarily work nicely and give good results wherever its use
+seems appropriate, but care must always be exercised not to use it too
+strong.
+
+
+
+
+BLUE.
+
+
+This is another of the primary colors and a very essential one, it
+being the nearest allied to shade, and although not shade itself, no
+shadows can be produced without it. We will find it, therefore,
+mingling with all the shades of nature between the lights and shadows.
+It would be in vain for us to introduce all our warm colors, if the
+cool tints that are produced by blue are wanting; for, without that,
+the work will appear heavy, as it is the contrast between blue and the
+warm colors that produces a balance of color. Blue mixed with yellow
+makes a very brilliant green, with gold a duller green, with magenta a
+purple. In landscapes it is used in skies and the middle distances, but
+not in the foreground, unless mixed with yellow. Blue can be mixed with
+rose or magenta for sunset skies. When the horizon is represented a
+streak of blue or rose, or of blue and magenta, will give a very
+pleasing effect. In portraits if you have a light background, a thin
+wash of blue can be used over it. The same can also be used for blue
+eyes and for dresses when they are light in the picture, also in all
+the half-shadows of the dresses or draperies without regard to what
+their other color may be.
+
+
+
+
+ROSE.
+
+
+This is the nearest approach to red that we have in these colors, and
+as it fills out the scale it is an essential one. It is, in fact, a
+very delicate shade of rose. For landscape it is used only in the
+skies, and then only a little near the horizon for sunset effects. For
+portraits it is used in the drapery for making a very light shade of
+pink, and it can be used generally when you want to make a very
+delicate effect. The photographic print on which it is used should not
+be too dark.
+
+
+
+
+VIOLET.
+
+
+This is a very strong and brilliant color, and therefore needs more
+than usual care in handling. In landscapes it is only used in certain
+skies near the horizon, and but very seldom even then. It is more
+especially designed for portraits, and there particularly in drapery to
+make very decided effects of strong color; but it can only be used when
+the dress or draperies are dark in the photograph.
+
+
+
+
+MAGENTA.
+
+
+This also is a powerful color and must be used carefully. It is not
+adapted to landscapes, but in portraits is used for dresses and
+accessories. If the photograph requires a dark dress this color will
+make it a beautiful shade.
+
+
+
+
+FLESH.
+
+
+This color can be used a very little in the skies of landscapes when
+there is a sunset effect to be represented. In portraits it is used to
+color the faces and hands. After it is dry, retouch the cheeks and lips
+with the same color.
+
+
+
+
+BROWN.
+
+
+This color is used in all the shadows. In landscapes, in some
+instances, it serves for use in the middle distance and foreground; the
+light places should be retouched with yellow or gold. It is also used
+for tree trunks, fences, and the like. In portraits it serves to color
+the hair and eyes, and appears in the dark shadows of the drapery and
+furniture. If the background is dark, a nice effect is produced by
+tinting it a little with this color.
+
+
+
+
+BLACK.
+
+
+In transparent color this has more the effect of a dark gray than a
+brilliant black, such as is produced with body colors. When you want a
+very dark black, it is better to use a little India ink with it. It is
+used in the skies of landscapes when you wish a gray effect, or to
+subdue a too strong blue color or red, and in foregrounds for rocks. In
+connection with yellow it will make a sombre green for trees,
+mountains, etc. In portraits it is used for the hair and eyes, in the
+shadows around the mouth, and in drapery in connection with the other
+colors.
+
+
+
+
+GOLD.
+
+
+This is a combination of yellow and red, and in general can be used
+wherever either of these colors would answer. In landscapes a little
+can be used in the skies, the middle distances, and lights on the
+ground in the foreground. In portraits it is used to color the drapery
+and jewelry.
+
+
+
+
+INSTRUCTIONS FOR USING LIQUID WATER COLORS.
+
+
+Fill the two tumblers with water, and have all the other materials
+ready and convenient to work with. If you have selected a burnished and
+mounted photograph wet its surface with saliva; unburnished
+photographs, photogravures and engravings do not require this
+treatment, but in coloring them it will be necessary to mix a weak
+solution of gum arabic with the colors to prevent their penetrating the
+paper. If printed on too thin a paper the photogravure or engraving
+should be mounted. If it is found that the colors "crawl" or spread on
+the photograph, mix a little acetic acid with the colors you are using,
+and should this fail to remove the difficulty, rub a pinch of pumice
+stone over the photograph with the fingers.
+
+If the photograph is a portrait commence with the background, washing
+it all over with a brushful of diluted color, being careful not to get
+any on the face. If the background is light, use a weak solution of
+blue, if dark, a brown solution. The majority of backgrounds only need
+a very little tinting--just sufficient to change the color. For the
+face use flesh color, diluting it to the proper shade, washing it
+entirely over the face, and with a stronger solution of the same color
+tint the cheeks and lips, giving them a little brighter effect than the
+flesh color. Touch up the shadows in the face with the brown, and if
+there are any reflected lights use a very weak solution of the yellow
+color for them; then with some very weak black make the shadows around
+the mouth a little darker; next with a solution of blue, also very
+weak, strengthen the shadows in the forehead and around the temples;
+then color the eyes, using a small brush. If they are blue, use a weak
+solution of blue, if gray, use a little black, and if brown, then that
+color. Next color the hair; if brown, use brown mixed with a little
+black to take away the reddish color; if auburn, use brown and yellow,
+with a little gray between the lights and shadows. In working on the
+hair, move your brush in the direction of the lines of the hair; if
+wavy, then cause your brush to follow its lines. After you have thus
+gone over it, darken the shadows with a stronger solution of the same
+color. After the hair, paint the eyebrows and beard, if there is any,
+with the same color.
+
+
+
+
+DRAPERY.
+
+
+You must remember in using these liquid colors that they are
+transparent, and, therefore, whenever the print is light you cannot
+make it dark, unless you strengthen the shadows by applying opaque
+colors. For dresses, if they are light, use the delicate colors to suit
+your fancy, either the rose, blue, yellow, or gold; when they are dark,
+use the magenta or violet, being careful to spread the colors evenly.
+After you have once colored the dresses, then with a stronger solution
+of the same color darken the shadows; if you then touch up the
+half-shadows with blue the effect will be still finer. For neckties or
+ribbons use the complementary color to that of the dress. For laces use
+a weak solution of yellow, and after it is dry touch up the strong
+lights with Chinese white. If there is a curtain in the picture use the
+complementary color to the dress. For chairs use brown. If sky, trees
+and grass are to be painted, color them according to the directions
+given for landscapes under the different colors; only be sure to modify
+them, and keep them low in tone and color.
+
+In laying on flat washes of color, the brush must be held nearly
+upright and should be passed boldly over the surface; the color should
+then gradually be brought down and spread equally over the whole
+surface as rapidly as possible, in order to avoid letting any part dry
+before the whole has been covered; then whatever surplus there may be
+should be carefully sponged off. When you apply the wash of color to
+the picture the latter should not be held flat, but at a slight angle,
+so that the color will settle down towards the bottom of the picture.
+
+These colors are more suitable for figures and landscapes combined than
+they are for landscapes alone, yet very pretty effects in landscapes
+can be produced with them. If any white spots should be found in the
+photograph, as very often happens, after the picture is quite complete,
+touch them out with India ink, using a small brush.
+
+
+
+
+LANDSCAPE.
+
+
+If the sky is to be blue, wash it all over with a weak solution of
+blue; if there are white clouds, you can touch up the highest lights
+with Chinese white; if there is a sunset or rosy effect, use a weak
+solution of rose or a little magenta. But it is best not to try to make
+too much of the sky, as the gray that is generally in it will give a
+very pretty effect and leave more contrast between the figures and the
+sky. For the middle distance mix blue, rose, and a little yellow or
+gold if you want it greenish, or you can use a very little brown. The
+nearer the trees come in the foreground the stronger in color they
+should be; that is, they should tend more to the green and brown and
+less to the bluish color. If they are to be bright green use blue and
+yellow, and retouch the light places with yellow. You can make the
+green duller by mixing a little black with the yellow, or you can make
+a richer green by using blue, gold and brown, and then touching up the
+lights with gold, and the shadows with brown. For the grass use blue
+and yellow, and retouch the lights with yellow; for the ground use
+brown, and retouch the lights with gold; for tree trunks, fences, and
+the like, use brown; for rocks, use black and a little brown.
+
+
+
+
+THE PRINCIPLE.
+
+
+The study of painting as an art is based on three considerations, form,
+light and shade, and color. I will now treat of color--the form, and
+light and shade being furnished for us in the photograph. Photography
+as a means of art education in its influence on the public is salutary.
+In spite of all its falsity it is the best teacher of the first
+elements of criticism and knowledge of the facts of form and light and
+shade. Photography does not produce color, so that we will add the one
+link to the chain that is wanting. As we are dealing with pictures
+finished in light and shade, it is well that we should have rules to
+aid in choosing good ones to work on.
+
+In selecting a photograph to color we want as perfect a print as it is
+possible to procure. A light one is preferable. Notice in particular if
+it is well defined, that the shadows and middle shades are clear, the
+lights pure, and that it is free from defects and spots. Many think
+that they can take a poor photograph, and, by coloring it, cover up the
+defects, but they are wrong in this, for the transparent colors will
+not conceal defects. The best rule is that the better the photograph
+the better will be the picture when finished. The Soule Photograph
+Company, No. 338 Washington Street, Boston, Mass., furnish photographic
+reproductions, mounted and unmounted, of all the best paintings in the
+world, in both public and private art galleries, and their photographs
+are the best to color. Therefore, to begin with, have a perfect picture
+to color. Scholars in commencing to use the brush will not be able to
+produce bold effects of color, and will only acquire that power by use
+and practice. By bold effects I do not mean that one part is to be more
+prominently rendered than any other portion of the work, but merely the
+brilliancy of coloring which distinguishes professional from amateur
+work. In any kind of painting it must be borne in mind, that there are
+no decided lines forming the edges of any object. The point insisted on
+is that the boundaries of objects must be of that color that will
+harmonize and subdue the picture, producing a soft, delicate effect.
+
+I would advise all who begin to paint to commence with water colors, as
+they are the easiest to manipulate, the liquid water colors being
+easier than the body colors, and their use the simplest of all kinds of
+painting. The photograph being a fac-simile of a subject as it appears
+to the eye in form and light and shade, furnishes a picture perfect
+except in color, while the liquids supply the color in the form best
+adapted to teaching the first steps in its use. It is hoped, though,
+that after the student has thoroughly mastered this course of study, he
+will attempt something higher and more difficult in the study of art.
+
+
+
+
+French Crystals.
+
+[Illustration]
+
+
+
+
+FRENCH CRYSTALS.
+
+
+These are photographs colored with liquid water colors and mounted on
+glass. For several years a process has been taught by which a
+photograph is rendered transparent by the use of paraffine oil, etc.,
+then mounted on glass, and colored from the back with oil paints. While
+by this method a picture pleasing at the time could be produced, yet
+unless the process was perfectly executed the oils would decompose and
+the picture become yellow and spotted. The use of water colors entirely
+overcomes these objections, as it is so simple that any one can employ
+them perfectly, and as there are no oils used in their production they
+cannot change or turn yellow.
+
+
+
+
+MATERIALS.
+
+
+    Convex glasses on which to mount photographs,
+    Bottle of Florentine, Egyptian, Grecian or other compound for
+      mounting on glass,
+    Best French picture glass,
+    Some gummed paper,
+    A dish in which to soak photographs,
+    Some dark, thin, fancy paper,
+    Sheet of blotting paper.
+
+
+
+
+THE METHOD.
+
+
+Having secured a good photograph, rub a little pumice stone over it
+with the finger, and then, if it is mounted, remove it from the card by
+placing it in warm water and allowing it to soak for an hour or two, or
+over night if necessary. After it is thus freed from the card lay it
+face down on a piece of glass, and sponge off all the starch from the
+back. Cut a piece of blotting paper the size of the picture and lay it
+on a glass, wetting it with water applied with a sponge; then lay the
+photograph, still wet, on the blotting paper, and, with a sponge,
+remove all the surplus water from its surface. Now proceed to color it
+according to the directions given in the preceding pages for coloring
+photographs with transparent liquid water colors. In case you should
+put on too much color, let the photograph soak a few moments in warm
+water, when the surplus color will gradually come out, and you may then
+recolor it. After it has been finished to your satisfaction, proceed to
+mount it according to the directions next given.
+
+
+
+
+MOUNTING FRENCH CRYSTALS.
+
+
+The glass for mounting, whether flat or convex, should be the same size
+as the picture. It should be dipped in water and permitted to drain
+off, but do not dry it; pour a little of the compound on the side
+against which the photograph is to be placed--the hollow side, if the
+glass is convex--let it drain off and lay the picture face down upon
+it. With the thumb and finger commence at the centre of the photograph,
+smoothing it down close to the glass, forcing all the air bubbles out
+to the edges, thus continuing until the picture is entirely smoothed
+out, and at every point in actual contact with the glass. During this
+process hold the glass at an angle, so that you can see if there are
+any air bubbles or glistening places in it by examining its face
+occasionally; and always let a little of the compound get on the back
+of the photograph, as it allows the fingers to glide over it more
+easily and lessens the chance of tearing it. Now take a second glass
+the same size as the first, and having thoroughly cleaned it, fasten it
+to the back of the other by small strips of gummed paper. Then place a
+piece of card-board of the same size on the back of the two glasses and
+fasten the three together also with small strips of gummed paper;
+finally securing the whole firmly together by binding it with some
+large strips, and your picture is ready to frame. In case you do not
+care to frame it, cut out a piece of some dark fancy paper, a quarter
+of an inch on each edge larger than the picture, and fasten it, dark
+side out, on the back, allowing the quarter of an inch to lap over and
+be pasted on the face, after which straighten the edges with a ruler
+and sharp knife.
+
+
+
+
+FINISHING PHOTOGRAPHS IN INDIA INK.
+
+
+The principles that have been given in regard to finishing photographs
+with lines, apply also to finishing with India ink--with the exception
+that in the manipulation of the ink it must be remembered that it
+cannot be taken out; therefore, you must commence to finish the
+photograph gradually, and produce the proper strength by repeatedly
+working over it. The old method of making India ink portraits was to
+have a print on "plain" paper--a kind without albumen on its surface.
+The great disadvantage of "plain" paper is that the lights and shadows
+on it are not strong, and therefore it takes too much work to finish
+the picture.
+
+The following method (which is very simple and can be used in work on
+albumen paper, provided you have treated it by rubbing pumice stone
+over its surface with your fingers), adapts it to India ink. Of course
+the pumice stone treatment destroys the albumen on the surface, causing
+it to have a dull appearance, but after the picture has been finished
+its lustre can be restored by the use of a not too warm burnisher.
+
+In finishing the photograph commence on the hair by washing it all
+over (with the exception of the highest light) with a weak solution of
+the ink, using the brush in the same direction that the hair goes;
+after this has dried, indicate the half-shadow with a little stronger
+wash, and after drying it again put in the deeper shadows, then the
+eyebrows, eyes and beard, if the subject has one.
+
+Faces are finished in India ink on the line principle,[D] which shows
+the grain of the flesh. Commence on the forehead with a very weak
+solution, and then continue it all over the face, repeatedly working
+and cross hatching with lines until the face is dark enough; then
+strengthen the shadows under the eyes, nose, mouth and chin. After the
+face is completed put in the clothes. This you do by washing them over
+with two or three solutions of the ink, and then producing the line
+effect as in work on crayon portraits, explained on page 76, the
+difference in the nature of the material used being always borne in
+mind. After the picture is otherwise completed, you can brighten up the
+eyes and some of the strongest shadows with a solution of gum arabic
+and water.
+
+FOOTNOTES:
+
+[Footnote D: See pages 57 and 72.]
+
+
+
+
+CONCLUSION.
+
+
+While it is thought that all essential instructions on the topics
+treated of have been given in the foregoing pages, and that if
+faithfully followed they will lead the pupil to attain satisfactory
+results, it is hoped that my readers who have accompanied me thus far
+will not be content to continue to use a photograph as the basis of
+their work, but will advance to the pursuit of art in a broader and
+more scientific manner. As a step in this direction the study of form,
+and light and shade, by drawing from the cast should be taken up; and
+to this work the directions as to light and shade given in the
+foregoing pages fully apply, that requiring the object to be placed in
+such a position that the light will strike it at an angle of ninety
+degrees being always borne in mind.
+
+The student will do well to gain all he can from the published works of
+the leaders in the profession, whose writings, both theoretical and
+practical, are invaluable. Three essays by John Burnet I can very
+heartily recommend. They are "Practical Hints on Light and Shade,"
+"Practical Hints on Composition," and "The Education of the Eye." These
+are published in a single volume, which is illustrated with examples
+from the great masters of the Italian, Flemish and Dutch schools, and
+should be in the hands of every amateur. They will all repay perusal
+and study until their principles are mastered. An English edition of
+these books is published by James Carpenter, London, and in this
+country they have been reproduced by Edward L. Wilson, editor of the
+_Philadelphia Photographer_. Another book which abounds in valuable and
+practical information for the amateur and can be highly commended, is
+"Art Recreations, a Guide to Decorative Art," by Marion Kemble,
+published by S. W. Tilton & Co., Boston; also J. Bacon's "Theory of
+Coloring," issued by Geo. Rowney & Co., England.
+
+Those who are disposed to treat disdainfully the work of finishing
+photographs in crayon and color as not demanding truly artistic
+qualities, should not forget that success here has still a real value
+in awakening in many who undertake it a feeling for art of a higher
+kind, and in developing a natural talent which otherwise might have
+been undiscovered. Many an artist now looks back with pleasure and
+gratitude to this sort of work, in which he received the first impetus
+toward higher effort.
+
+In answer to the assertion which is sometimes made that transparent
+water colors are not permanent, I claim that in the sense in which the
+word is ordinarily used in connection with photography they may
+properly be called so. In this sense the lasting qualities which
+characterize the materials used by the old masters are not looked for,
+but where photographs have been thus colored, finished in the form of
+French crystals, and properly sealed from the atmosphere, they are
+practically permanent. I have some in my possession that were made
+years ago, and they are as bright and fresh to-day as when first
+colored. It can be truly said that photographs colored in this way make
+very beautiful and pleasing pictures, obtainable with but little work
+and expense, and having practical permanency of color.
+
+As a final word to those who intend to follow art as a profession, I
+urge the earnest study and mastery of drawing at the outset as the
+foundation of all art; then take up work in body water colors, and when
+the theory of coloring is fully understood, do not neglect the careful
+reading of books of acknowledged merit bearing on your work. The more
+notes you take in the course of your reading the more fully you will
+assimilate the author's thought, while, at the same time, you furnish
+the easiest means of rapid review. After all, your soundest basis for
+work will be your deep and continuing love for it, and your willingness
+to labor long and conscientiously to attain excellence. Do not imagine
+that the profession of an artist is that of an idler. On the contrary,
+of all occupations it is perhaps the most active, for one is constantly
+engaged, if not with art itself, at least with its materials.
+
+Every artist will confess that were it not for the charm with which it
+rewards the votaries who follow it from love, the pursuit would be a
+painful one, such vigilant precaution does it require, such constant
+foresight, such calculation and preparation against possible difficulty
+on every hand; but the true artist, happy in the daily gain of
+knowledge which his experience brings him, and delighted with the
+gradual mastery of his work, as a rule lives along enjoyably, retaining
+more than most men the freshness of youth while he gains in power as he
+advances in years. So pleasant a fate as this for each of his readers
+is the closing wish of the author.
+
+
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+Moved some illustrations to avoid breaking up paragraphs of text. The
+page references in the List of Illustrations refer to the original
+book.
+
+Corrected minor punctuation errors and hyphenation inconsistencies, and
+made the following changes:
+
+Page 50: Changed necesssary to necessary:
+  (all the details necesssary).
+
+Page 67: Changed Appelton to Appleton:
+  (From the Annual Encyclopedia. Copyrighted, 1891, by D. Appelton).
+
+Page 74: Changed where-ever to wherever:
+  (using the latter where-ever a lighter effect is required).
+
+Page 90: Changed picrure to picture:
+  (And when a picrure is composed chiefly of middle tint).
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #30248 (https://www.gutenberg.org/ebooks/30248)
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+The Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Crayon Portraiture
+       Complete Instructions for Making Crayon Portraits on Crayon
+       Paper and on Platinum, Silver and Bromide Enlargements
+
+Author: Jerome A. Barhydt
+
+Release Date: October 13, 2009 [EBook #30248]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CRAYON PORTRAITURE ***
+
+
+
+
+Produced by Chris Curnow, Diane Monico, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+
+
+Crayon Portraiture.
+
+
+[Illustration: FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER--STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT.]
+
+
+
+
+CRAYON PORTRAITURE
+
+COMPLETE INSTRUCTIONS FOR MAKING CRAYON
+PORTRAITS ON CRAYON PAPER AND ON
+PLATINUM, SILVER AND BROMIDE
+ENLARGEMENTS
+
+ALSO DIRECTIONS FOR THE USE OF
+TRANSPARENT LIQUID WATER COLORS
+AND FOR MAKING
+FRENCH CRYSTALS
+
+
+BY
+
+J. A. BARHYDT
+
+AUTHOR OF ARTICLE ON CRAYON PORTRAITURE IN
+_Appleton's Annual Cyclopedia, 1890_.
+
+
+Illustrated
+
+_Revised and Enlarged Edition_
+
+NEW YORK
+THE BAKER & TAYLOR CO.
+33-37 E. 17TH STREET, UNION SQUARE NORTH
+
+
+COPYRIGHT, 1886 AND 1892
+
+BY J. A. BARHYDT
+
+
+ROBERT DRUMMOND, PRINTER, NEW YORK
+
+
+
+
+PREFACE.
+
+
+In issuing this second treatise on Crayon Portraiture, Liquid Water
+Colors and French Crystals, for the use of photographers and amateur
+artists, I do so with the hope and assurance that all the requirements
+in the way of instruction for making crayon portraits on photographic
+enlargements and for finishing photographs in color will be fully met.
+To these I have added complete instructions for free-hand crayons.
+
+This book embodies the results of a studio experience of twenty-four
+years spent in practical work, in teaching, and in overcoming the
+everyday difficulties encountered, not alone in my own work, but in
+that of my pupils as well. Hence the book has been prepared with
+special reference to the needs of the student. It presents a brief
+course of precepts, and requires on the part of the pupil only
+perseverance in order that he may achieve excellence. The mechanical
+principles are few, and have been laid down in a few words; and, as
+nearly all students have felt, in the earlier period of their art work,
+the necessity of some general rules to guide them in the composition
+and arrangement of color, I have given, without entering into any
+profound discussion of the subject, a few of its practical precepts,
+which, it is hoped, will prove helpful.
+
+While this book does not treat of art in a very broad way, yet I am
+convinced that those who follow its teachings will, through the work
+they accomplish, be soon led to a higher appreciation of art. Although
+this kind of work does not _create_, yet who will say that it will not
+have accomplished much if it shall prove to be the first step that
+shall lead some student to devote his or her life to the sacred calling
+of art?
+
+It has been said that artists rarely, if ever, write on art, because
+they have the impression that the public is too ill-informed to
+understand them--that is, to understand their ordinarily somewhat
+technical method of expression. If, therefore, in the following pages I
+may sometimes seem to take more space and time for an explanation than
+appears necessary, I hope the student will overlook it, as I seek to be
+thoroughly understood.
+
+My hope with reference to this work is that it may prove of actual
+value to the earnest student in helping him reach the excellence which
+is the common aim of all true artists.
+
+                        J. A. BARHYDT.
+
+
+
+
+CONTENTS.
+
+                                                                  PAGE.
+
+Preface                                                             ix
+
+Crayon Portraiture                                                  15
+
+Photographic Enlargements                                           19
+
+Crayon Materials                                                    22
+
+The Specific Use of Crayon Materials                                25
+
+The Strainer                                                        30
+
+Mounting Crayon Paper and Platinum and Silver Enlargements          32
+
+Mounting Bromide Enlargements                                       37
+
+Outlines--Negative Outline                                          39
+
+Magic Lantern Outline                                               42
+
+Transfer Outline                                                    46
+
+The Metroscope                                                      47
+
+The Pantograph                                                      49
+
+Crayon Effects--The Four Methods of making Backgrounds              51
+
+Free-hand Crayons and those made from Photographic Enlargements     53
+
+Filling in the Free-hand Crayon                                     55
+
+Line Effect                                                         57
+
+Stipple Effect                                                      59
+
+Backgrounds--General Principles                                     62
+
+First Method of making the Background--Stump Effect                 65
+
+Second Method of making the Background                              66
+
+Third Method of making the Background--Line Effect                  67
+
+Fourth Method of making the Background--Stipple Effect              70
+
+Face--Line Effect                                                   72
+
+Dress--Line Effect                                                  76
+
+Bromide Crayons                                                     78
+
+Finishing Bromide Enlargements                                      82
+
+Monochromes                                                         88
+
+Values                                                              89
+
+The Studio                                                          93
+
+Framing                                                             95
+
+Passepartout Mounting                                               97
+
+
+TRANSPARENT LIQUID WATER COLORS FOR COLORING
+PHOTOGRAPHS.--MATERIALS REQUIRED IN THEIR USE                      101
+
+Theory of Color                                                    103
+
+Colors                                                             106
+
+Yellow                                                             106
+
+Blue                                                               107
+
+Rose                                                               108
+
+Violet                                                             109
+
+Magenta                                                            109
+
+Flesh                                                              110
+
+Brown                                                              110
+
+Black                                                              111
+
+Gold                                                               111
+
+Instructions for using Liquid Water Colors                         112
+
+Drapery                                                            114
+
+Landscape                                                          116
+
+The Principle                                                      117
+
+
+FRENCH CRYSTALS                                                    123
+
+Materials                                                          124
+
+The Method                                                         125
+
+Mounting French Crystals                                           126
+
+Finishing Photographs in India Ink                                 128
+
+Conclusion                                                         130
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE.
+
+Free-hand Crayon made on Steinbach Crayon Paper with a
+Magic Lantern Outline, showing Stipple Effect in Face
+and Drapery and Broken Line Effect in Background         _Frontispiece_
+
+Negative Outline--Dark Chamber                                      40
+
+McAllister's Magic Lantern, No 653, with Wonder Camera
+  Attachment                                                        42
+
+Magic Lantern Outline                                               43
+
+Lines to produce Stipple Effect                                     60
+
+Background--Line Effect                                             67
+
+Line Effect for Face                                                72
+
+Line Effect for Dress                                               76
+
+Crayon executed over Bromide Enlargement made from Original
+Negative, showing Stipple Effect throughout                         80
+
+[Illustration]
+
+
+
+
+CRAYON PORTRAITURE.
+
+
+To many who know nothing about the art of crayon portraiture, the
+mastery of it not only seems very difficult, but almost unattainable.
+In fact, any work of art of whatever description, which in its
+execution is beyond the knowledge or comprehension of the spectator, is
+to him a thing of almost supernatural character. Of course, this is
+more decided when the subject portrayed carries our thoughts beyond the
+realms of visible things.
+
+But the making of crayon portraits is not within the reach alone of the
+trained artist who follows it as a profession. I claim that any one who
+can learn to write can learn to draw, and that any one who can learn to
+draw can learn to make crayon portraits. Making them over a
+photograph, that is, an enlargement, is a comparatively simple matter,
+as it does not require as much knowledge of drawing as do free-hand
+crayons. But you must not suppose that, because the photographic
+enlargement gives you the drawing in line and an indistinct impression
+of the form in light and shade, you are not required to draw at all in
+making a crayon portrait over such an enlargement. Some knowledge of
+drawing is necessary, though not a perfect knowledge.
+
+Many people err in supposing that only the exceptionally skilled can
+produce the human features in life-like form upon the crayon paper.
+While recognizing great differences in natural aptitude for drawing in
+different persons, just as those who use the pen differ widely in their
+skill, some being able to write with almost mechanical perfection of
+form, I still hold that any one who is able to draw at all can succeed
+in producing creditable crayon portraits; and the lack of great skill
+as a draughtsman, should neither discourage a student nor debar him
+from undertaking to make crayon portraits (over enlargements, at
+least), either as an amateur or professional. To make a crayon from
+life undoubtably requires considerable talent and some education as an
+artist; but photography, in recent times, has made such advances from
+the old fashioned daguerreotype to the dry plate process and
+instantaneous exposure, and such developments have recently been made
+in the field of enlargements and in photographic papers, that it is now
+possible for anyone, who will carefully follow the plain instructions
+given in the following pages, to make a good crayon portrait by the aid
+of the different kinds of enlargements. These place in his hands a
+perfect reproduction of what he wishes to make; and care and close
+attention to details will insure the rest.
+
+The student, however, must have courage. I tell my pupils not to be
+afraid to work freely; that if they spoil their work beyond their
+ability to redeem it, I can always fix it up and restore it for them;
+and that they should go ahead confidently. The reader may say that he
+has no teacher to help him out of his difficulty; but he must remember
+that he has the photographic enlargement as a sure guide, and that
+whenever he fears he is losing the outline, he can see at once what he
+is doing, by holding the enlargement against the light with its back
+towards him. My experience as a teacher has shown me that pupils, as a
+rule, are timid, especially that class which works mostly on
+enlargements, resulting from the fear of losing the outline and from
+lack of a thorough knowledge of drawing. I especially urge the
+necessity for boldness and freedom in execution. As an expert in
+chirography can read character in handwriting, so the artist's public
+will judge him from his work. If he is, in fact, weak and timid, these
+traits will find expression in what he puts on paper. Let courage,
+then, be an important part of your equipment, if you would succeed in
+doing good crayon work.
+
+
+
+
+PHOTOGRAPHIC ENLARGEMENTS.
+
+
+There are three kinds of photographic enlargements used as a basis for
+crayon portraits, and, with a little experience, the student can
+determine for himself which kind will prove the most satisfactory.
+
+Free-hand crayons are made on Steinbach and other crayon papers,
+without any photograph as a basis. Silver enlargements are made on
+paper coated with a solution of chloride of silver, which the action of
+the light reduces to salts of silver. This is the oldest form of
+photography, and has been used since its introduction by Scheele in
+1778. Silver enlargements are made by the aid of the sun (and are then
+called solar enlargements) or they can be made with the electric light.
+
+Platinum enlargements are a recent advance in photographic printing
+with iron salts, the process which has been worked out and patented by
+W. Willis, Jr., being a development of such printing. Its principle is
+that a solution of ferrous oxalate in neutral potassium oxalate is
+effective as a developer. A paper is coated with a solution of ferric
+oxalate and platinum salts and then exposed behind a negative. It is
+then floated in a hot solution of neutral potassium oxalate, when the
+image is formed.
+
+This process was first introduced by Mr. Willis in 1874, and he has
+since made improvements. He claims that the platinotype paper does not
+contain any animal sizing. The early experiments convinced him that the
+paper upon which the image was to be printed would prove an important
+factor, as all photographic paper contained animal sizing, which was
+found to be antagonistic to platinum salts. The action of platinum
+salts upon a paper containing animal sizing gave it a tint which no
+amount of acid washing could remove. For the past nine years Mr. Willis
+has had manufactured for his special use a Steinbach paper, free from
+the animal sizing, and he also uses a cold developer, thereby causing
+the paper to retain its original elasticity.
+
+The chief points of difference between bromide enlargements and silver
+or platinum enlargements are that, in the former, we have the sensitive
+compound of silver suspended in a vehicle of gelatin, and, in the
+latter, a thin coating of an aqueous solution of the sensitive salts.
+In the former process, the image is not shown until the paper has been
+developed in the bath, while in the latter, the image is shown upon the
+paper when it is exposed to the light; so that, in the latter, the
+image or picture has only to be fixed or made permanent, while in the
+former, it is developed, then fixed. The gelatin bromide paper is
+coated with a solution of gelatin, bromide of potassium and nitrate of
+silver, developed with a solution of oxalate of potash, protosulphate
+of iron, sulphuric acid and bromide of potassium and water, and fixed
+with hyposulphate of soda. It is manufactured in America by E. and H.
+T. Anthony & Co. and by the Eastman Dry Plate Company.
+
+
+
+
+CRAYON MATERIALS.
+
+
+The following materials will be found necessary for crayon work:
+
+    A good photographic enlargement,
+    Easel,
+    Mahl stick,
+    Three inch magnifying glass,
+    Square black Conte crayon, Nos. 1, 2 and 3,
+    Charcoal holder for the same,
+    Hardmuth's black chalk points, Nos. 1, 2, 3, 4 and 5,
+    Holder for the same,
+    Box Faber's crayon points, Nos. 1, 2 and 3,
+    Holder for the above crayons,
+    Conte crayon, in wood, Nos. 0 and 1,
+    6 B. Faber's holder for Siberian lead pencil points,
+    4 H. Faber's holder with Siberian lead pencil point,
+    Velour crayon,
+    Peerless crayon sauce,
+    Black Conte crayon sauce, in foil,
+    White crayon, in wood,
+    Bunch of tortillon stumps,
+    Large grey paper stumps,
+    Small grey paper stumps,
+    The Peerless stump,
+    Large rubber eraser, 4 inches by 3-4 inches square, bevelled end,
+    Two small nigrivorine erasers,
+    Holder for nigrivorine erasers,
+    Piece of chamois skin,
+    Cotton batting of the best quality,
+    A sheet of fine emery paper,
+    A sharp pen knife,
+    One pound of pulverized pumice stone,
+    Mortar and pestle,
+    A large black apron,
+    Paste-board box about ten inches square and two inches deep,
+    Back-boards for mounting crayon paper and photographic enlargements,
+    Pliers,
+    Paste brush, three inches wide, to be used for starch paste or for
+      water.
+
+Experience has taught me that we cannot be too particular in giving
+directions as to the materials for our work, and therefore I have
+carefully included in the above list everything necessary to thoroughly
+equip the student. While the magnifying glass mentioned above is not an
+actual necessity, still a good one will be found very useful, as it
+will often show details in the photograph which would not be discovered
+by the naked eye. My male readers may at first object to so feminine an
+article as an apron, but it will be found thoroughly useful, and I am
+sure they will never consent to abandon it after they have once become
+accustomed to wearing it.
+
+
+
+
+THE SPECIFIC USE OF CRAYON MATERIALS.
+
+
+I will now explain the specific use and nature of these materials,
+reserving the various kinds of photographic enlargements and their
+special qualities and advantages, for treatment under their different
+manipulations.
+
+The easel should be set so that the light strikes the picture at an
+angle of 90 deg., and, when working from a side light, it will very
+often be necessary to darken the lower part of the window to accomplish
+this result.
+
+The mahl stick is held in the left hand, and is used as a rest for the
+right arm in working. Though a trifle awkward and difficult at first,
+its use must, nevertheless, be learned, as the hand will not be steady
+without it, especially in portrait work.
+
+The square black Conte crayons are for filling in where there are large
+dark places. The No. 1 is used with the black Conte crayon sauce in
+making the crayon sauce (to be applied with the ends of the fingers) to
+produce a broad effect and to make the stipple effect on the paper
+after it has been rubbed with pumice stone.
+
+The crayon points, Nos. 1, 2 and 3, are used in making outlines and
+also in putting in the lines to produce the line effect. In general,
+they are to be used in free-hand crayons and on silver and platinum
+enlargements.
+
+The Hardmuth black chalk points are similar to the crayon points, and,
+if preferred, should be used according to the directions given for the
+crayon points.
+
+The Hardmuth points are made in five numbers and will, therefore,
+produce more shades of black than the crayon points. They are also
+twice as long as the latter, without costing any more.
+
+The Conte crayons, in wood, are used for finishing the crayon,
+especially the No. 0, its hardness adapting it to that purpose.
+
+The 6 B. Faber's holder, for lead pencil points, is for holding the
+Faber's Conte crayon No. 0 after it has become short, the wood being
+carefully removed before the crayon is placed in the holder.
+
+The 4 H. holder, with Siberian lead pencil point, is used in the very
+finest work on bromide paper, for finishing in the light places. Care
+must be employed not to use too much lead on the paper, as, being of a
+different color from the crayon, it would show if too freely applied.
+It is also used in making monochromes.
+
+Velour crayon is very black. It is only used to produce a velvet effect
+and whenever it is necessary to make a very strong dark--that is, a
+dark that is deeper than an ordinary shadow.
+
+The Peerless crayon sauce is the same as the crayon sauce made from No.
+1 Conte crayon and the black Conte crayon sauce in foil. It is made and
+put up in bottles by F. W. Devoe & Co., and can be bought of any dealer
+in artist's materials. It will be found more convenient to get it in
+this form than to prepare it in the studio; it costs no more and saves
+the expense of a mortar and pestle. As it is ground by machinery and
+passed through a very fine screen, there are no small hard particles in
+the preparation, and its use is recommended.
+
+Black Conte crayon sauce, in foil, is used in making the crayon sauce
+to be applied with the fingers.
+
+White crayon, in wood, is for touching up the high lights of white
+drapery, and especially for the high lights on white lace; it is to be
+used very sparingly.
+
+Tortillon stumps are used in making the face, when it is desired to
+produce the stump effect, and also in making the hair.
+
+The large grey paper stump serves to make the broad effect of shade in
+the stump effect in the hair and dress.
+
+The Peerless stump is used to produce the same effect as the large grey
+paper stump. It will be found far better than the paper stump for work
+on the bromide paper, as it is made of softer material and causes the
+crayon to adhere to the paper more readily.
+
+The large rubber eraser is to put in the broad effects of light in the
+background and dress. The small nigrivorine erasers are used when it is
+necessary to remove the crayon, in order to produce small decided
+lights--principally in making free-hand crayons and to produce the line
+effects over a platinum and silver enlargement. While the stumps are
+used for putting on the crayon, the erasers are used to remove it. The
+chamois is also used for removing the crayon, to produce broad effects
+of light.
+
+The cotton is for applying the crayon sauce to the paper and for
+rubbing the crayon at different stages in the completion of the
+picture. The crayon cannot be removed with the eraser unless it has
+first been rubbed with the cotton; and this must be borne in mind, as
+the use of the eraser at this stage would only result in making a black
+line or spot, when it was intended to produce a white line or spot.
+
+It will also be well to make a chamois block for applying the crayon
+sauce, to be worked with the tortillon stump. This is done by tacking
+onto a block, four inches long, two inches wide and three-quarters of
+an inch thick, a piece of chamois skin, three inches wide by five
+inches long, allowing it to cover the top, while it is fastened along
+the four edges. This is placed face down in the box of crayon sauce and
+rubbed around in it, so that the crayon will adhere thoroughly to the
+chamois.
+
+Emery paper is used to sharpen the nigrivorine erasers and the crayon
+points.
+
+The knife, which is a very important tool, should be a good one, always
+kept well sharpened. The best for this work is an ink eraser, with a
+rounding point, a long edge on one side of the blade and a short one on
+the other side, extending about an inch from the point.
+
+The mortar and pestle are for pounding or grinding the Conte crayon No.
+1 and the crayon sauce, in making the special crayon sauce mentioned
+above.
+
+The paste-board box is intended to hold this special crayon sauce or
+the Peerless sauce.
+
+The back-boards are one inch thick, made to fit the back of the
+strainer (described in the next chapter), and are used in mounting. It
+will be necessary to have three different sizes, the most useful being
+11×15, 15×19 and 19×24 inches, to fit, respectively, strainers
+measuring 16×20, 20×24, 24×29 and 25×30 inches.
+
+The pliers should be either what is known as shoe-maker's pliers (which
+are the cheapest) or the canvas pliers, used in stretching that
+material; they are needed to stretch the cloth on the strainer.
+
+The pulverized pumice stone is used in preparing the surface of crayon
+paper and bromide enlargements, to produce the stipple effect.
+
+
+
+
+THE STRAINER.
+
+
+The strainer, on which crayon paper or any kind of photographic
+enlargement is to be mounted, should be the same size as the intended
+picture. The frame is made of four strips of pine wood, two inches
+wide, one inch thick on the outside, and three quarter inch on the
+inside, making a quarter inch bevel on the inside edge of the face;
+these are nailed together and glued. To this, tack a piece of bleached
+muslin, free from knots and rough places, which has been cut two inches
+larger each way than the frame. Use six ounce Swede upholsterers'
+tacks, placing one in the centre of the outside edge of one side and
+another directly opposite, stretching the muslin as firmly as possible
+with the fingers. Then place a third tack in the centre of the outside
+edge of the top, and a fourth in the centre of the bottom of the frame,
+stretching as before. In finishing, use the pliers in addition to the
+fingers, and remember that you must always stretch from the centre
+towards the corner or you will have wrinkles in the muslin. As this
+process should be thoroughly understood, I will give minute directions
+for completing the operation. Having already placed the four tacks as
+above, stand the strainer on its bottom edge on the floor, with the
+back towards you, and put in the fifth tack two inches to the right of
+the third, that is, the one on the top previously mentioned. Instead of
+stretching the muslin directly back in a straight line towards you and
+at right angles to the fourth tack, you must draw it with the fingers
+towards the right hand corner. Then finish stretching, and tacking this
+edge to the right hand corner of the top, placing the tacks two inches
+apart and taking care to only draw the cloth sufficiently to have it
+perfectly smooth and straight on the edges, leaving the stretching to
+be done with the pliers; then turn the strainer on the side edge and
+tack at two inch intervals from the centre of the other (that is the
+upper) side to the right hand corner, same as before, and then tack
+half of the bottom edge and half of the other side in the same way. You
+will observe that you now have only one half of the muslin tacked--that
+is, one half on each edge--and you then complete the tacking, using the
+pliers to thoroughly stretch the muslin. This method has the advantage
+that you can stretch the muslin on the strainer and get it on better
+and in less than half the time required by the old method; also that
+you stretch the whole surface of the muslin with the pliers, and do it
+with only half the work.
+
+
+
+
+MOUNTING CRAYON PAPER AND PLATINUM AND SILVER ENLARGEMENTS.
+
+
+Wet in clean water a piece of muslin about two inches larger each way
+than the paper you intend to mount, and lay it on the mounting board or
+table, removing all the wrinkles with a wet brush; then place the paper
+on this cloth, face down, and with some water and a brush, wet the back
+of the paper, continuing to use the brush until all the wrinkles are
+entirely smoothed out and the paper lies down perfectly flat. Any
+number of pieces of paper can be wet at the same time by placing one
+over the other, provided the larger sizes are laid down first and each
+is brushed out flat before another is placed over it. Let the paper
+soak for about fifteen minutes.
+
+After having removed the surplus water from the paper with a cloth,
+sponge or squeegee, apply starch paste to the paper with a paste brush,
+going over it thoroughly, until it has received an even coat of paste
+free from lumps. Then lay one of the back-boards on a table and, having
+placed the strainer down on it face up, give the cloth of the latter a
+coat of paste, using the same care you did in going over the paper,
+taking pains to have the edges of the cloth well pasted, and to
+remove, by passing your finger all around the outside edges of the
+strainer, any paste which may be there. Now pick the paper up and place
+it on the pasted surface of the strainer, which an assistant should
+hold tipped towards you. (The help of an assistant will be found almost
+indispensable in mounting). After the paper is in the proper place, lay
+the strainer down and secure each corner of the paper, by first lifting
+it slightly and then rubbing it down with a clean cloth from the
+direction of the centre towards the corner you have lifted up. With a
+sharp knife trim off the edges of the paper and set it away to dry, but
+neither near a fire nor in too cold a place. You can very often save
+the remounting of a paper by occasionally glancing at it as it dries
+and by gently rubbing down a little with the fingers any places that
+look as if they would not stick. Very often the paper will be all right
+with the exception of this difficulty at one edge or corner. This is
+invariably the lower part, and is caused by the water settling there.
+It is therefore advisable to change the position of the strainer two or
+three times as it dries, letting it stand on different edges.
+
+After the paper is dry, if there are any places that have refused to
+stick fast to the cloth, it will be impossible for you to remedy the
+matter, and you must remount it. You proceed, therefore, to remove the
+paper from the cloth. This you do by turning the strainer face down and
+filling the back of it with warm water, allowing it to remain there
+until you think that the paste has become thoroughly dissolved; then
+turn the strainer over and carefully remove the paper. If it should not
+come off readily, fill the strainer again with water, and soak it until
+it will come off. After you have removed the paper, lay it on a wet
+cloth, and with a case knife clean off the starch, using care not to
+injure the surface of the paper, and also clean off the starch from the
+strainer; then proceed to remount as before. When you once understand
+that you cannot spoil an enlargement on account of defective mounting,
+you will work more confidently. After you have tried three times to
+remount, and the paper still insists in not sticking, you must take a
+new strainer, as too many wettings will have spoilt the cloth and wood.
+Sometimes there seems to be a difference in the stretching qualities of
+the enlargement and cloth, which makes it impossible to produce a
+perfect cohesion. When, therefore, it has been remounted three times
+and does not come out perfect, your best course is to mount a piece of
+crayon paper on a new strainer, and after it is thoroughly dry to then
+mount the enlargement on that. This you do in the manner described for
+mounting in the first instance, directly on the strainer, except that
+you do not coat with paste the crayon paper already mounted.
+
+It sometimes happens, that after the paper has been mounted and dried,
+it is discovered that lumps in the paste have caused defects to appear
+on the face of the paper in the shape of raised surfaces that unfit it
+for the intended purpose. These can be entirely removed by wetting the
+back of the strainer with some clean water immediately behind where the
+lumps of paste are, and with a knife scraping the cloth a little at
+these places; the surplus paste will work itself out through the cloth.
+
+The starch paste used in mounting should not be made very thick; on the
+contrary, it should be as thin as is consistent with still retaining
+all its adhesive qualities. Should you fear that it is too thick or
+lumpy, strain it through a piece of cheese cloth. In a former edition
+of this book I advised adding to the paste a little white glue
+dissolved in warm water, but I do not now consider this necessary for
+crayon paper or photographic enlargements, and do not recommend its use
+except for mounting paper of unusual thickness.
+
+The foregoing directions for mounting apply to platinum or silver
+enlargements, crayon or other kinds of paper, but not to bromide
+enlargements. The bromide paper requires a different method of handling
+on account of the gelatin surface, which when wet is destroyed by
+contact with any dry substance, as the latter removes the gelatin.
+
+For determining the proper position of photographic enlargements (bust
+pictures) on the strainer, the following scale will be useful as a
+general guide. When the size of the strainer is 16×20, 20×24, 22×26, or
+25×30 inches, the distances from its top to the top of the head of the
+portrait should be respectively 3-1/2, 4, 4-1/2 and 5-1/2 inches.
+
+
+
+
+MOUNTING BROMIDE ENLARGEMENTS.
+
+
+The first requisite for this is a water-tight tray, large enough to
+hold the enlargements. A hard rubber tray can be purchased, or a wooden
+one that will answer the purpose may be made. I use one of my own
+construction that is cheap and serviceable. It is simply a wooden box,
+27×32 inches and 4 inches deep, made of 1/2 inch grooved material and
+lined with black oil cloth, not cut at the corners, but folded in. In
+this, when about half full of water, lay the enlargement face up, and
+let it remain in the water fifteen minutes. It should then be laid face
+down on the wet cloth (which should be all ready) as described in the
+preceding chapter, for mounting crayon paper. Care must be exercised to
+have the cloth wet all over, for if there should be any dry spots in it
+they would ruin the gelatin surface. With a cloth or squeegee remove
+the water from the back of the enlargement and also from the cloth
+around its edges, for if there is too much water on the edge of the
+cloth it will work up into the paste and prevent it from sticking when
+mounted. Now paste the enlargement and strainer according to the
+directions given for mounting crayon paper, place the enlargement on
+the strainer and rub it down by using the fingers wet in a little
+water, or the squeegee can be used; and then trim off even with the
+outside of the strainer. Avoid rubbing too hard along the edges, as by
+so doing you will press out all the paste and it will not stick.
+
+You can remount a bromide enlargement as often as necessary in case it
+does not come out perfect, only bear in mind that you must not allow
+anything dry to touch the surface when wet. But I should not advise you
+to try more than three times directly on the strainer. It would be
+better to mount a piece of crayon paper on a new strainer, and after it
+is dry to remount the bromide enlargement on that.
+
+
+
+
+OUTLINES--NEGATIVE OUTLINE.
+
+
+After the crayon paper has been mounted on the strainer and dried, the
+next step is to obtain the outline. I will first treat of free-hand
+crayons, taking it for granted that the reader is not able to produce
+crayons from life, but works from a photograph. There are five
+different methods of making an outline, from which the reader can make
+his own selection.
+
+[Illustration: NEGATIVE OUTLINE--DARK CHAMBER.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Make a negative from the photograph that is to be enlarged, and
+construct for a room that is entirely dark, with the exception of one
+window, a dark inside shutter, with an opening in it the size of the
+negative you intend to use. Place a cleat on each side and at the
+bottom of this opening, so that the negative may be made to slide in
+front of it. Having removed the ground glass from your camera box,
+fasten the latter against the shutter so that the opening comes in the
+centre of the box. You can fasten it with four hooks and eyes, or
+arrange cleats on the shutter and pieces on the box, so that it will
+slide into place. Be sure and have the box come tight against the
+shutter so that the light will be entirely excluded. Place the negative
+over the small opening in the shutter and adjust the camera box; then
+stand the easel with the crayon strainer on it at the proper distance
+to give the required size of the enlargement and focus the image sharp
+on the crayon paper. The strainer must stand at the same angle as the
+shutter; that is, if the shutter is perpendicular then the strainer
+must stand perpendicular also. Then go over the outline and shadow
+lines with the charcoal, after which open the shutter and examine the
+outline and see if it is right. As you are working in the dark you are
+apt to overlook some lines. If you have done so you can close the
+shutter again and make them. If it proves to be all right go over it
+with the crayon point No. 2.
+
+
+
+
+MAGIC LANTERN OUTLINE.
+
+
+[Illustration: McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+[Illustration: MAGIC LANTERN OUTLINE.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+This is the method I am using at present in my own free-hand crayon
+work, and prefer because it does not require a negative. I use a
+McAllister Magic Lantern, No. 653, with a wonder camera attachment.
+This attachment enables you to make an enlargement from a cabinet or
+card photograph, and to dispense with a negative. If you intend to do
+very much free-hand crayon work I should advise you to get one, as it
+will soon pay for itself. The lantern should be put in working
+condition according to the printed directions that come with it, and
+placed on your table. I use a table six feet long, sixteen inches wide,
+and thirty inches high. Nail to one side of the table, four inches from
+the end, a stick six feet long, one inch wide, and one-half inch thick,
+using two two-inch brads. One end of the stick should rest on the
+floor, care being taken that it stand perfectly perpendicular, a square
+being used if necessary to secure this result. The stick will have a
+length of 42 inches above the table, which will be ample for the use of
+a 25 by 30 strainer. Place the strainer, with the crayon paper mounted
+on it, facing outward on its bottom edge on the table and nail it fast
+to the stick with two brads, letting it stand at right angles with the
+edge of the table with its back towards the lantern, which is at the
+other end of the table. The object of placing the strainer with the
+back towards the lantern is that the image must show through the
+strainer or the outline would be drawn reversed. Draw a charcoal mark
+on the back of the strainer vertically through the centre, and mark the
+proper distance from the top of strainer horizontally where the top of
+the head should come. Now move the lantern until you have it the proper
+distance from the strainer to make the head the size desired, and
+afterwards focus the features sharp and distinct, using the charcoal
+marks for the proper place to make the head, the vertical line coming
+through the centre of the face; then, seated at the end of the table,
+in front of the strainer, make a charcoal outline as in the former
+method.
+
+Of course the magic lantern can be used for producing an outline only
+at night, or in a perfectly darkened room.
+
+The following table will prove a safe guide to follow in determining
+the size of the head for bust pictures. The distance from the roots of
+the hair on the forehead to the bottom of the chin should be:
+
+    For 14 by 17 inch pictures, 4     inches,
+     "  16  " 20   "     "      4-1/2   "
+     "  18  " 22   "     "      5       "
+     "  20  " 24   "     "      6       "
+     "  22  " 27   "     "      6-1/2   "
+     "  25  " 30   "     "      7       "
+     "  29  " 36   "     "      7       " showing the hands.
+
+
+
+
+TRANSFER OUTLINE.
+
+
+For this method an enlargement made from the photograph is required,
+but it needs to be an enlargement of the head only--that is, a 11×14
+inch enlargement of the head will answer for a 25×30 inch crayon
+portrait, and serve as a guide to work from in making the crayon.
+
+Transparent tracing paper (made of fine tissue paper, oiled with
+clarified linseed oil and then dried,) is laid on the enlarged
+photograph, and the outline gone over with a soft lead pencil. The
+tracing paper is then turned and its back is rubbed all over with
+charcoal, when it is laid charcoal side down on the mounted crayon
+paper, and carefully fastened with four thumb tacks. The lines first
+made are then gone over with a sharp pointed lead pencil. When the
+tracing paper is removed a perfect outline in charcoal is found to have
+been made. This should then be gone over with the crayon point No. 2.
+The rest of the portrait is sketched in from the original picture.
+
+
+
+
+THE METROSCOPE
+
+
+Comprises a series of squares accurately engraved upon the finest plate
+glass by machinery. The two plates of glass (of which one form of the
+instrument consists), are ruled for convenience with squares differing
+in size. These are framed and held together by thumb screws, allowing
+sufficient space between them for inserting and securing a picture the
+size of a cabinet photograph. The lines are thus brought into such
+perfect contact with all parts of the photograph so that they appear to
+be drawn on it. One feature of this instrument which renders the square
+system very practical, consists of the division and sub-division of the
+squares by dotted lines and dash lines. The eye naturally divides a
+line or space into halves and quarters, and for this reason the dash
+lines have been designated for quartering the main lines, and the
+dotted lines for quartering the squares thus formed. This gives sixteen
+times as many squares for use as are drawn upon the photograph.
+
+A method based on the same principle as the metroscope, but not
+requiring the use of that instrument, may be pursued, as follows:
+Fasten the photograph to a board, mark the space at the top, bottom and
+sides into one-quarter inch divisions, and drive sharp pointed pins in
+each of the division marks. Taking a spool of white thread run it
+across vertically and horizontally from each pin to the one opposite,
+and you will then have the photograph divided into one-quarter inch
+squares; then, if your enlargement is to be six times the size of the
+photograph, take the mounted crayon paper and divide the sides and top
+and bottom in 1-1/2 inch squares, run thread across the same as for the
+photograph, and then proceed to draw the outline, first in charcoal,
+and afterwards with the crayon. The spaces marked on the crayon paper
+should in each case, of course, be as many times greater than those
+marked on the photograph as the intended enlargement is greater than
+the photograph.
+
+
+
+
+THE PANTOGRAPH.
+
+
+This instrument for enlarging or reducing a picture was invented about
+the year 1603. It consists of four metallic or wooden bars or rules,
+which are perforated by a series of holes (numbered from 1 to 20), and
+connected together by means of an adjustable thumb screw. The
+instrument is provided with a tracing and a marking point, and a screw
+or point which is forced into the drawing board to hold the instrument
+in position. A good pantograph will cost about two dollars; those of a
+cheaper grade are entirely worthless for practical use, while a good
+one will last a life time. A little experience will enable any one to
+learn the use of the numbers.
+
+To employ the instrument select the number on the bars corresponding to
+the number of times the subject is to be enlarged, and connect the
+adjustable ends of the bars so that they intersect at this number;
+secure the pantograph to the drawing board at the left hand side; place
+a piece of manilla paper at the other end of the board and secure it
+with thumb tacks, taking care to smooth all the wrinkles out. Next
+adjust the marking point in the centre of the paper; and secure the
+photograph to the board so that its centre shall be directly under the
+tracing point, which should always touch it. If it does not do so at
+first, place a little weight on the instrument over this point heavy
+enough to bring it in contact with the photograph. Now guide the
+instrument, by taking hold of the tracing point while at the same time
+you watch the marking point. In this manner go over the entire
+photograph, putting in all the details necessary, after which you can
+transfer this outline to the crayon paper by means of the tracing paper
+according to the former method given for transferring an outline.
+
+These are all the best methods of producing an outline. In each of them
+you fasten the charcoal lines with the No. 2 crayon points, and then,
+having brushed off the charcoal, proceed to put in the background for
+your portrait. This you do by any one of the methods given in the
+following pages.
+
+
+
+
+FOUR METHODS OF MAKING THE BACKGROUND.
+
+
+The background can be made first, with the crayon sauce and the use of
+the large gray stump and rubber eraser; second, with the cotton and
+rubber, by using the cotton in applying the crayon sauce to put in the
+dark places in the background, and then finishing with the rubber;
+third, by the use of the line effect; and fourth, by the stipple
+effect, produced by the use of pumice stone. This last I consider far
+superior to any of the others, as it changes the appearance of the
+surface of the paper entirely, and produces an effect altogether
+different from that ordinarily shown in a background. It is also free
+from the mussy, dirty appearance which is produced by the use of the
+cotton and crayon sauce alone. I have been repeatedly asked by both
+amateurs and professionals what kind of paper I use in free-hand
+crayons. The inquiry arose from the fact that treating the paper by the
+fourth method changes the appearance of the surface of the paper and
+also its color. I have never before, however, given to the public, nor
+even to my pupils, the secret of this process. When the pupil has
+mastered it so as to once produce the satisfactory effect of which it
+is capable, he will find that it has all the advantages I claim for it
+and is a secret well worth knowing, in fact, what would be termed one
+of the tricks of the profession, and a very valuable one. I must
+confess, however, that I discovered it by an accident. I had been
+experimenting for years in making backgrounds in order to produce an
+effect that was entirely satisfactory to me, and had failed to reach
+just what I wanted. One day, however, I was at work on a portrait that
+I was very particular with, but the background of which proved quite
+unsatisfactory to me. In despair I threw on a handful of pumice stone,
+intending to entirely remove the background by its aid, when, to my
+surprise and delight, I found I was producing the very effect that I
+had been seeking for years, namely, one rendering the background of a
+different color from the face and giving it a clear, transparent
+appearance, so that the eye seemed to penetrate it, quite different
+from the opaque, almost dirty backgrounds, resulting from the use of
+other methods.
+
+I will treat each of these methods in separate chapters further on.
+
+
+
+
+FREE-HAND CRAYONS AND THOSE MADE FROM PHOTOGRAPHIC ENLARGEMENTS.
+
+
+The principal difference between the appearance of free-hand crayons
+and those that are made over a photographic enlargement, is that in the
+former the shadows are lighter and more transparent. In the matter of
+feeling, however, the free-hand crayon is much more satisfactory to the
+artist for he knows it is all his own work, and that he has not
+depended on the photographic enlargement to help him make the portrait.
+
+After the outline has been drawn, in making a free-hand crayon, the
+portrait is still not yet in the same state of advancement as a silver,
+platinum or bromide enlargement; for the reason that the latter not
+only has the outline, but also the faint impression in light and shade
+of the rest of the portrait. I will, therefore, in the next chapter,
+give instructions for filling in the free-hand crayon up to such a
+degree of light and shade as shall put it in the same condition as the
+enlargement. From that point on the same directions (to be subsequently
+given) for finishing the portrait will apply equally to both the
+free-hand crayons and the enlargements, except that the bromide is
+understood to require special treatment.
+
+The frontispiece was made from a free-hand crayon which was executed on
+Steinbach crayon paper with a magic lantern outline. This shows the
+stipple effect in the face and drapery, and a broken line effect in the
+background. The student will notice the difference between this
+illustration and that facing page 81, which was made from a bromide
+crayon. In the bromide crayon the shadows are dark and strong, while in
+this they are lighter and more transparent.
+
+
+
+
+FILLING IN THE FREE-HAND CRAYON.
+
+
+Having your crayon outline already made on the mounted strainer, lay
+the latter down on the table face up, and proceed to put in a pumice
+stone background with the crayon sauce according to instructions
+hereafter given on page 70 for producing that kind of background,
+making sure that you go entirely over the outline. Then place the
+strainer on the easel, and after putting in the cloud effect take the
+chamois block in your left hand, and, with a tortillon stump in your
+right, put in the shadows in a strong, clear and decided manner.
+Commencing on the hair, put in the broader shadows first, working the
+stump in the same direction that the lines of the hair go, and endeavor
+to give the soft flow that the hair should have, avoiding making lines
+or any attempt to make individual hairs. The eyebrows should then be
+put in in the same way as the hair, care being taken to preserve the
+form; then the eyes, beginning with the upper lids, putting in the
+lines between the eye and the lid, and also the second line forming the
+lid. Do not line in the lower lid between the eye and the lid, but put
+in the under line of the lower lid. Next form the pupil, placing it in
+the centre of the iris, making it very dark; then the iris, noticing
+in particular that the upper lid throws a shadow on the top of the
+iris; then the shading of the nose and nostrils and shadows under the
+nose. The mouth is the next important feature, and, as there are no
+decided lines in it, you must put in none, but have the degrees of
+light and shade form the mouth. Begin with the corners, and notice
+carefully that here lies nearly the whole expression of the lower part
+of the face; next treat the central point of the lips and complete the
+mouth; then make the shadows around the mouth and chin, after which,
+put in the ears, and then model up the face, making all the shadows
+broad and decided, leaving the details for the finishing touches, but
+being careful in the modeling to retain all of the values. Next put in
+the clothes with the large stump, sweeping it gently across the lights
+in different directions, allowing the lines to cross each other
+occasionally. Carefully preserve the form in this, giving the proper
+shape to the lapels of the coat or folds in the dress, and to the arms.
+Avoid detail and do not carry the clothes as far down as you want them
+to show in the finished picture. Lace work should not have too much
+detail, but be made somewhat indistinct; only show a few of the forms
+out sharp and defined, giving the pattern.
+
+
+
+
+LINE EFFECT.
+
+
+This can be produced in crayon portraits made over a photographic
+enlargement, or in free-hand crayons after the filling in just
+described has been done. 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 represent 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, as that is the way the
+grain of the board would be. If we should take the same board and bend
+it in the form of a circle, we would in order to represent the board in
+that position, draw lines running in a circle to correspond with the
+grain and position of the board. The idea to be impressed is, that when
+we want to represent an object with crayon and that object is flat, we
+draw straight lines to represent its surface; and when the object is
+round or partly so, we draw curved lines, conforming them 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 light places of an object we will see its grain or
+texture, and that grain or texture will gradually become obscured as it
+enters the shadow until it is entirely lost in the deepest shadows.
+This grain will not show in nature as decided where the strongest
+lights are as it will in the half shadows; and, therefore, in the
+crayon representation the grain effect should show more decided in the
+half shadows. If your crayon is not true in this respect, it will
+appear coarse and fail to please as a work of art on account of its
+falsity to nature. The line effect is produced throughout the whole
+picture, in the background, face and dress.
+
+
+
+
+STIPPLE EFFECT
+
+     _On a photographic enlargement or a free-hand crayon after
+     the outline and masses of light and shade have been made
+     with the tortillon stump, as explained on page 55._
+
+[Illustration: LINES TO PRODUCE THE STIPPLE EFFECT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+When putting in a background with the pumice stone as described in the
+fourth method on page 70, treat the whole surface of the paper with
+pumice stone in order to raise the grain of the paper, but go over the
+face lightly. Then place the strainer on which the portrait is mounted
+on the easel, and put in the shadows with the tortillon stump,
+producing the lights with the eraser; finish with the No. 0 crayon. But
+instead of producing a diamond effect, as you did with the lines, you
+now want to have a stipple effect, which is that of small black and
+white spots; the paper producing the white spots, and the crayon the
+black ones. To produce this make the lines in the shadows and
+half-shadows, but not in the light places, in the manner shown in the
+illustration on the following page; instead of crossing them to form
+diamonds, using short lines and varying their direction and
+intersection with reference to the ultimate effect; then rub them with
+the end of the finger. In finishing, gradually divide up all the small
+light parts with the pencil and the dark with the eraser: if it is
+necessary at any time to rub the crayon, use the end of the finger
+instead of the cotton. Be careful not to get too much crayon on the
+paper, that is, you must not "force up" or be compelled to make the
+shadows too dark by the use of the crayon; they should be made as dark
+as necessary with the stump before finishing. Should you find in
+finishing that they are not dark enough, use the stump to make them
+darker, as the pencil is only intended to give the stipple effect, and
+should be used in a very light and delicate way. Continue the process
+of finishing according to the directions hereafter given for bromide
+enlargements. The foregoing illustration is the first or ground work
+for the stipple effect produced by the aid of the fingers. To obtain
+this effect without rubbing with the fingers, make small black dots,
+instead of the lines shown above, until the desired effect is produced.
+The latter method results in a coarser stipple effect, but it requires
+a much longer time and is more difficult than the former.
+
+
+
+
+BACKGROUNDS--GENERAL PRINCIPLES.
+
+
+Always commence the portrait by putting in the background. Among the
+four different methods which I have given, the student can make his own
+selection. For myself, I prefer the last two mentioned.
+
+There can be no definite rule given for the lights and shadows in the
+backgrounds, as every portrait will need a characteristic background
+adapted to the subject. There should always be a nice disposition of
+light and shade, the light coming against the dark side of the face and
+the dark against the light side, and generally a cast shadow. What this
+is may be learned by setting a cast (or any other object) near the
+wall, letting the light strike it at an angle of 90 degrees, and
+noticing the size and position of the shadow thrown on the wall. The
+cast shadow in your background must not be too near the head, as
+simplicity should be one of the principles of the background, and this
+can only be attained by breadth of light and shade. The background is
+of secondary importance, and should not intrude itself on the portrait
+in its effect of lines or light and shade. Backgrounds for half or full
+length figures need especial study in their effect of lines, and one
+who intends to succeed in making them properly should study linear
+composition in Burnet's essay on Composition,[A] especially the
+following passages. "Composition is the art of arranging figures or
+objects so as to adapt them to any particular subject. In composition
+four requisites are necessary--that the story be well told, that it
+possess a good general form, that it be so arranged as to be capable of
+receiving a proper effect of light and shade, and that it be
+susceptible of an agreeable disposition of color. The form of a
+composition is best suggested by the subject or design, as the fitness
+of the adaptation ought to appear to emanate from the circumstances
+themselves; hence the variety of compositions.
+
+"To secure a good general form in composition, it is necessary that it
+should be as simple as possible. Whether this is to be produced by a
+breadth of light and shade, which is often the case with Rembrandt,
+even on a most complicated outline, or by the simple arrangement of
+color, as we often find in Titian, or by the construction of the group,
+evident in many of Raphael's works, must depend upon the taste of the
+artist. It is sufficient to direct the younger students to this
+particular, their minds being generally carried away by notions of
+variety and contrasts.
+
+"In giving a few examples of composition, I have confined myself to the
+four simple and principal forms, not only from their being most
+palpable, but also from their possessing a decided character, which is
+at all times desirable. To those who imagine that such rules tend to
+fetter genius, I shall merely quote Sir Joshua Reynolds, whose works,
+if properly understood, render all other writings on the subject of
+painting superfluous: 'It must of necessity be that even works of
+genius, like every other effect, as they must have their causes, must
+likewise have their rules. It cannot be by chance that excellencies are
+produced with any constancy or any certainty, for this is not the
+nature of chance; but the rules by which men of extraordinary points,
+and such as are called men of genius, work, are either such as they
+discover by their own peculiar observations, or are of such nice
+texture as not easily to admit being expressed in words; especially as
+artists are not very frequently skillful in that mode of communicating
+ideas. Unsubstantial, however, as these rules may seem, and difficult
+as it may be to convey them in writing, they are still seen and felt in
+the mind of the artist, and he works from them with as much certainty
+as if they were embodied, as I may say, upon paper. It is true these
+refined principles cannot be always palpable, like the more gross rules
+of art, yet it does not follow but that the mind may be put in such a
+train that it shall perceive, by a kind of scientific sense, that
+propriety which words, particularly words of unpractised writers such
+as we are, can but very feebly suggest.' (Sixth Discourse)."
+
+FOOTNOTES:
+
+[Footnote A: Essays on Art, by John Burnet, New York, E. L. Wilson.]
+
+
+
+
+FIRST METHOD OF MAKING THE BACKGROUND--STUMP EFFECT.
+
+
+To produce the stump effect, rub the chamois block in the box of crayon
+sauce, and then with the large grey paper stump commence by putting in
+the darkest parts and the cast shadow. Use the broad end of the stump,
+moving it over the surface of the paper with an even and uniform
+pressure, so that you will not make any dark spots. Make broad lines
+and have them cross each other so as to form diamond shaped spaces,
+using considerable care and a very light touch in the lighter places.
+Finish with the large rubber eraser, cutting it so that it will make
+white lines about the same width as the black lines made with the
+stump. Have these light lines run into the dark ones in some places,
+and use the rubber so as to produce a dashing effect.
+
+
+
+
+SECOND METHOD OF MAKING THE BACKGROUND.
+
+
+Take a handful of cotton batting, rub it in the box of crayon sauce,
+and then on a piece of paper before applying it to the crayon paper to
+make the background, being careful to avoid rubbing harder in some
+places than others, as dark spots are likely to be caused in that way.
+Commence by rubbing in close to the face and work out towards the edge
+of the paper. Let the darkest part be closest to the face, shading out
+in the form of a circle about six or eight inches from the face,
+according to the subject, the upper line of the arc coming a little
+above the head. Then make the cast shadow and finish with the large
+rubber eraser, putting the lights, or cloud effect, as it is called, in
+the background. When doing this, place the strainer high enough on the
+easel to bring the centre of the picture on a level with your eyes,
+then standing in front of it and about six feet off, decide upon your
+plan of light and shade. After you have put in the first of the lights,
+step back to the former position, and see if it gives the proper
+effect. Continue this method of working until the background is
+entirely completed.
+
+
+
+
+THIRD METHOD OF MAKING THE BACKGROUND--LINE EFFECT.
+
+
+With the cotton and crayon sauce as in the preceding method, put in the
+dark places and cast shadow, but not as dark as you want them when
+finished; then with the crayon point No. 2 put in three sets of lines
+thus:--
+
+[Illustration: BACKGROUND. LINE EFFECT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Do not carry out the lines as far as the background will extend when
+finished. The lines should be one-quarter of an inch apart in life-size
+portraits, and a little closer in smaller sizes. As a rule the lines
+are a little further apart in the background than in the face. These
+lines need not be horizontal, crossed by oblique ones at obtuse angles,
+but they can be curved lines, if desired, provided they cross each
+other so as to leave diamond shaped spaces. After the lines are in rub
+a piece of clean cotton over them all, using pressure enough to subdue
+them to the degree of indistinctness desired; then finish with the
+large eraser and crayon point No. 2, putting in the cloud effect. Such
+lines as show too prominently you subdue with the nigrivorine eraser.
+If there are any light places, make them dark with the crayon.
+
+The background should be very indistinct on the edges, and be vignetted
+in the shape of an oblong, having some very light clouds above and on
+either side of the head. Let there be a nice contrast between the face
+and the background, having light come against dark and dark against
+light; that is, when one side of the face is dark and one side light,
+have the background light against the dark side, and dark against the
+light side; when light and shade are about equal on both sides of the
+face, have the background about the same shade on both sides, without
+too decided a cast shadow. If you have a subject that has gray hair,
+have the background darker than it would be otherwise. The background
+should never be darker at any place than the shadows in the face, and
+close to the face it must be a shade between the light and half
+shadows. Never resort to the practice of leaving the background white,
+as this will only give a hard, stiff appearance. Clean off the outside
+edges of the background with a clean piece of cotton and the pumice
+stone.
+
+
+
+
+FOURTH METHOD OF MAKING THE BACKGROUND--STIPPLE EFFECT.
+
+
+Lay a piece of manilla paper on the table about twelve inches larger on
+each edge than your strainer, placing the strainer on it face up; rub a
+handful of cotton batting first in the crayon sauce and then on the
+manilla paper to remove any foreign substance. Then apply the cotton
+with a circular motion to the crayon paper to make the background
+desired. Next sprinkle the pulverized pumice stone over the entire
+background, and go over this with the fingers in a circular movement,
+using them flat from the second joint to the ends; then lift the
+strainer up, and, resting it on the edge, jar off all the pumice stone,
+and when this is done, lay it down again and rub it off with a clean
+piece of cotton. Now rub the fingers in the crayon sauce, keeping them
+flat so that it will adhere evenly to them, and go over the background
+lightly as when rubbing in the pumice stone and you will produce a nice
+stipple effect. Finally, place the strainer on the easel, and finish
+according to the directions given for finishing crayons made on bromide
+enlargements.
+
+Of course it will need considerable experience before you can succeed
+in doing this perfectly, but patience and perseverance will ultimately
+accomplish the desired end. There are two matters of importance to be
+borne in mind in making these backgrounds--first, do not have any
+small, hard pieces of crayon on the cotton when you rub it on the
+paper, and second, use the fingers in as flat a position as possible,
+for if you do not have them flat down on the paper you are likely to
+make dark spots in the background.
+
+
+
+
+FACE--LINE EFFECT.
+
+
+[Illustration: LINE EFFECT FOR FACE.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Commence on the hair with the crayon point No. 2, and put in all the
+shadows and half-shadows, carefully preserving the lines of direction,
+but avoid working over the lights more than necessary; then with the
+crayon point No. 1 strengthen all the shadows about the eyebrows, the
+eyes, the mouth, the chin and the ears. Next put the lines in the face.
+The following illustration shows the lines before they are rubbed. It
+will be well to remember that only two sets of lines are used in the
+face, as shown in the illustration, and the same number in the dress,
+while there are three sets required in the background. The lines in the
+face should be a little closer than those in the background, while
+those in the dress are about the same as those in the background.
+
+In the effect of the lines in the face lie the chief merit and beauty
+of this method of crayon work. When properly drawn, the lines represent
+and give the grain of the flesh in a very beautiful broken effect. They
+are drawn so as to leave spaces shaped like diamonds, but in the
+finishing should be so treated as to lose their regularity, and to have
+the effect of "broken diamonds." If you will examine the back of the
+wrist joint when your hand is bent slightly backward, you will see more
+clearly what is meant by the term "broken diamonds" in the slight
+ridges which show the grain of the flesh. Begin with the forehead,
+using the crayon point No. 1, and put in one set of lines straight
+across, but curving downwards as the forehead commences to round off
+towards the hair at the sides; then one more set of lines in the
+direction that will produce the diamond spaces, continuing these two
+sets of lines throughout the face. These lines intersecting at the
+proper angles will indicate the grain of the flesh, if the line of
+direction be carefully followed. Remembering that the face is not a
+flat surface, make the lines darker in the shadows and lighter as they
+approach the lights. The high lights on the forehead, the nose, the
+highest point of the chin, and around the mouth, should, however, have
+no lines over them.
+
+Having put in these lines take a small handful of cotton, and rub the
+hair and face over both the high lights and shadows, the motion
+following the line of direction; that is, being straight across the
+forehead, curving towards the hair at the sides, and circular on the
+cheeks. Care should be exercised not to rub too hard, it being a common
+fault of the beginner to rub the paper too much, and produce a dirty
+effect. The lines should be merely rubbed until they are somewhat
+blurred and indistinct. Remember that the crayon portrait is made on
+the surface of the paper, and not rubbed into it. After it has thus
+been treated with the cotton, go over the shadows with the crayon point
+No. 1, and rub again with the cotton.
+
+The face of the crayon will now be about three shades darker in the
+lights than it should be when finished, and not quite dark enough in
+the shadows. Finish it with the No. 0 crayon and nigrivorine eraser,
+using the latter wherever a lighter effect is required; also break up
+the regularity of the diamond spaces, and whenever a line shows too
+prominently subdue it with the eraser.
+
+If you would succeed in making good crayon portraits, it will be
+necessary for you to cultivate a light touch with the crayon in
+finishing.
+
+The eraser is one of the principal instruments employed in making
+crayon portraits, and is used the same as if it were a crayon pencil,
+that is, on that principle, the difference being that you make white
+lines with it instead of black ones. Keep the eraser to a sharp point
+in the following manner: take a piece of emery paper about three inches
+square, and place it in the left hand between the index and second
+fingers, holding the fingers about half an inch apart, and bending the
+paper to fit between them; then rub the eraser in the crease thus
+formed, holding it at an acute angle. Sometimes it is necessary to
+sharpen the eraser with a knife or a pair of scissors before rubbing it
+on the emery paper. In working with the eraser on the crayon paper do
+not rub hard enough to remove all the crayon from the surface of the
+paper, except in producing the high lights and the white of drapery.
+Notice in particular in finishing the hair that where it touches the
+forehead there are no lines, as the light and shade should blend
+together so nicely as to leave no decided line between them.
+
+
+
+
+DRESS--LINE EFFECT.
+
+
+[Illustration: LINE EFFECT FOR DRESS.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+The above illustration represents the effect of the lines in the dress.
+In putting them in let every fold, sleeve and lapel have lines of its
+own, that is, lines differing in direction so as to discriminate it
+from the other parts of the clothing. These distinctive lines will lose
+themselves in the wrinkles, in shadows, and in the next fold, where the
+lines will have a different direction. The illustration is very crude,
+as it shows the lines before they are rubbed with cotton; after that
+process they have quite a different appearance. In men's clothing the
+lines may be drawn a little farther apart than in the treatment of the
+finer texture of ladies' garments. After you have put in the lines with
+the crayon point No. 2, go over them with a piece of cotton previously
+rubbed in the crayon sauce, and then complete this part of the work by
+the use of a dull eraser for the smaller lights, and the chamois for
+the broad lights.
+
+The crayon is now in good condition for finishing, which you will
+proceed to do by the use of No. 0 Conte crayon and the nigrivorine
+eraser, softening the lights with the former and the shadows with the
+latter, until you have the whole portrait subdued, and no decided lines
+of light and shade. Of course throughout these processes you must pay
+close attention to all the characteristic points in the likeness, so
+that the crayon will be a true and life-like reproduction. Do not sit
+too close to the crayon in finishing; if you do, you will be
+disappointed when you come to look at it from a slight distance, and
+will not find at all that enchantment which distance is said to lend to
+the view, as the crayon will disclose a spotty effect, and too great a
+contrast between the lights and shadows.
+
+
+
+
+BROMIDE CRAYONS.
+
+
+In the bromide enlargement, while the paper has to undergo all the
+different manipulations of development, fixing and washing, that the
+platinum and silver enlargements do, yet the gelatin is not removed,
+and, when dry, remains as a strong sizing to the surface of the
+paper--in fact, so strong, that in some of the different kinds of
+bromide paper the surface is very nearly as hard as glass, and,
+therefore, the crayon cannot be used upon it with good results until it
+has received a special treatment, as the crayon would only make a black
+scratchy mark.
+
+It has been said that the bromide paper and enlargement were entirely
+different from the platinum or silver enlargement and the crayon paper.
+While there is not as much difference between the bromide and other
+enlargements as there is between the former and the crayon paper, there
+should be this difference: the silver or platinum enlargement should
+only be printed strong enough to give the form and the larger details
+in the negative, while the bromide enlargement must be as nearly a
+perfect photograph as can be produced from the negative.
+
+[Illustration: FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE--STIPPLE EFFECT THROUGHOUT. BY J. A.
+BARHYDT.]
+
+From the fact that, on account of the difference in the surface of
+the paper, there cannot be as much crayon put on the bromide
+enlargement as on the other kinds of paper, and that, therefore, it
+cannot be strengthened to the same degree in the shadows without
+spoiling the nice transparent effect that a bromide should have there,
+it follows that the best bromide crayons are those on which the least
+crayon is used to produce the desired effect. The bromide paper, on
+account of the gelatin surface, will not take the crayon from the stump
+as readily as the other kinds of paper; but after the surface has been
+treated with the pumice stone this objection is removed, and the paper
+can be worked on with the stump readily. I can say from my own
+experience, that for producing a crayon over a photographic enlargement
+with the stipple effect, it has no equal in the beauty of finish and
+rapidity of execution.
+
+The illustration facing this page was made from a crayon executed over
+a bromide enlargement from the original negative. Better results can
+always be reached in a bromide enlargement when it is thus made from
+the original negative. The student will notice in particular the
+stipple effect in the reproduction.
+
+
+
+
+FINISHING BROMIDE ENLARGEMENTS.
+
+
+Examine the enlargement mounted on the strainer, looking at it from the
+side, to learn if there is any starch on the surface of the paper
+before commencing work on it. If there is any, carefully wash it off
+with a sponge and some clean water, and then set the enlargement aside
+until it has thoroughly dried. Then lay it down on the table with a
+piece of manilla paper under the strainer about 12 inches longer on
+each edge than the latter; take a handful of cotton, first rubbing it
+thoroughly in the crayon sauce, then on the manilla paper, and finally
+going over the surface of the enlargement with it in a circular motion.
+Then sprinkle pumice stone over the portrait, and using the ends of the
+fingers flat, rub it over the entire surface of the paper. This
+treatment cuts through the gelatin surface and prepares it for the
+stipple effect. Now stand the strainer on its edge and jar the pumice
+stone off, after which lay it down on the table, and with a piece of
+clean cotton lightly brush off the surface; then, having rubbed the
+finger ends in the crayon sauce, go over the entire surface of the
+enlargement, holding them flat, and you will produce a fine stipple
+effect.
+
+If the shadows need to be darker, use a little more crayon on the
+fingers; also put the cast shadow in the background, applying the
+crayon with the fingers.
+
+Before proceeding further it will be well to note that the crayon is
+entirely on the gelatin surface, and that the photographic image is on
+this surface also, and not on the paper itself; therefore, under the
+image and the gelatin you have the pure white paper. I call attention
+to this in order that you may work with a better comprehension of the
+materials you are using.
+
+You now have four surfaces. First, the muslin cloth of the strainer;
+second, the starch; third, the white paper; fourth, the gelatin.
+
+Knowing that the gelatin has a hard surface, you are prepared to learn
+that the crayon will come off from the bromide much more easily than
+from the other kinds of paper. These had but three surfaces, while the
+bromide has a fourth--a very hard one--between the crayon and the
+paper, and on account of its hardness it will need different treatment
+in its manipulation. Therefore you use the fingers in applying the
+crayon sauce, and, when it is necessary to make a place light, you do
+so with the cotton, chamois or eraser. Should you find it necessary to
+make a place white where it is dark, you can remove the photograph
+entirely, as this is on the gelatin, scraping it off down to the white
+paper with a sharp knife.
+
+Resuming the process of finishing, place the enlargement on the easel
+and put in the cloud effect with the large eraser, then lay it on the
+table again, and clean it off about four inches from the edge all
+around with pumice stone and a fresh piece of cotton where you have
+rubbed with the eraser, and blend the background into this four inch
+space. Return the enlargement to the easel again, and with the broad
+eraser clean up the lights throughout, and with the cotton and pumice
+stone blend them into the shadows; then with the peerless stump, crayon
+sauce and fingers strengthen the larger shadows, using the nigrivorine
+eraser when necessary to clean up the lights, and the tortillon stump
+for the work in the smaller shadows, if it is required to make them
+darker. Now with the No. 0 crayon finish the face by completing the
+stipple effect in the patches of light and shade. You will have a good
+guide in the background for finishing and giving the stipple effect, as
+there you will have this stipple effect quite perfect, especially in
+the light places. This finishing with the No. 0 crayon is the nicest
+part of the work, and when doing it you must keep in mind that you are
+putting in the stipple effect, and that alone; that is, the portrait at
+this stage is supposed to be very nearly right in light and shade and
+expression, and it should not be necessary to strengthen it in the
+shadows by using the No. 0 crayon. You are to cut up or divide the
+portrait into small black and white spots, but do not take out white
+spots with the No. 0 crayon that are larger than the white spots
+desired in the stipple effect; these light places must be cut into
+smaller light spots. If you should take out these white spots (and this
+is an error you must be very careful to avoid), you would produce an
+effect of large dark and white spots that would be entirely wrong, the
+real process being to divide large white and dark spots into smaller
+ones of the same color.
+
+This stipple effect should be worked all over the face with the
+exception of the highest lights, and even these will very often need to
+be worked over except at the single points of the very highest lights.
+In this work you now have an opportunity to demonstrate the theory of
+contrast. Sometimes the enlargement is too dark in the shadows, and
+although you require to have them lighter you have already removed all
+the crayon from the surface, and it still remains too dark. The crayon
+pencil is many shades darker and blacker than the shadows, yet you can
+by its use make them lighter by putting in the stipple effect, as the
+dark touches of the pencil in their contrast with the shadow color
+under them cause them to appear lighter. This is a very essential
+principle to remember in crayon portrait work: that the effect of dark
+against light is to make the light appear lighter, and the dark darker.
+After the face and hair are completed as above, then finish the
+clothes with the peerless stump, eraser and fingers. If there are any
+very dark strong shadows--for instance, under the collar or around the
+neck--put them in with the velours crayon and subdue them with the
+fingers. When at work on the clothes at the bottom of the portrait do
+not finish straight across, but in a circular way. Next taking up the
+background you will discover that there are some large patches of light
+and shade that must be changed and made the required color to
+correspond with the adjoining surface; lean back as far as possible in
+your chair, and join these places together with the pencil and eraser;
+then in the same position finish the face by removing any light or dark
+places, strengthening the eyes, nose, mouth, and any point of the
+likeness requiring a final touch. Remove with the point of your knife
+any small black spots such as sometimes show in the photograph, and
+then with a fresh piece of cotton and pumice stone clean off the edges
+of the crayon all around.
+
+Before regarding the picture as quite complete, examine it by holding
+it at right angles to the light, to see if there are not some marks of
+the crayon pencil that show too prominently. These can be subdued with
+the ends of the fingers. Sometimes in finishing with the No. 0 crayon
+the paper will seem to be gritty so that you can hardly work on it.
+The difficulty is that some of the pumice stone has adhered to the
+surface of the paper. This can be disposed of by rubbing it with the
+fingers. It should be remembered that the pumice stone must be entirely
+removed from the whole surface of the paper, as otherwise it will
+settle in the crayon, and give a dirty gray effect. When, as sometimes
+happens in commencing the portrait, dark or white spots or streaks show
+themselves, do not pay any attention to them until you have entirely
+finished the crayon, then if they are dark, make them the proper shade
+with the eraser, and if light, with the crayon.
+
+
+
+
+MONOCHROMES.[B]
+
+
+These are portraits in one color on porcelain, glass or any hard
+material that has first been coated with gelatin and then photographed
+on. First treat the whole surface with pumice stone as directed for the
+bromide paper, afterwards go over it with the crayon and cotton. Then
+put in the cloud effect in the background, and clean off the lights in
+the face, hair, and clothes with the eraser; next put in the
+half-shadows with the peerless stump; then with a solution of India ink
+darken the stronger shadows throughout the portrait--in the eyes, nose,
+mouth and eyebrows, and finally in the hair. Finish the face with the
+No. 0 crayon and the 4 H. Faber's lead pencil according to directions
+given for finishing bromide enlargements. The Faber pencil is used
+almost exclusively throughout the face. Very nice effects of strong
+light can be made on porcelain by scraping through the gelatin surface
+with the knife. This process is specially adapted to making pictures of
+smaller size, say 10×12, or 11×14 inches, as it produces a very soft
+and delicate effect.
+
+FOOTNOTES:
+
+[Footnote B: For photographic process, see the American Annual of
+Photography and Photographic Times Almanac, 1888.]
+
+
+
+
+VALUES.
+
+
+The matter of values enters into the essential quality of every work of
+art, and especially of a portrait. It is the truth of their rendering
+that will give a faithful likeness. By the term values is meant the
+relations of light and shade to each other. This subject has been so
+admirably treated by John Burnet in his essay entitled "Practical Hints
+on Light and Shade,"[C] that I give his observations on this point.
+
+"Before proceeding to investigate light and shade in their various
+intricate relations, it may be proper to notice a few of the more
+palpable and self-evident combinations; and for the better
+comprehending of which I shall divide them into five parts, viz.:
+Light, half-light, middle tint, half-dark and dark. When a picture is
+chiefly composed of light and half-light, the darks will have more
+force and point, but without the help of strong color to give it
+solidity it will be apt to look feeble, and when a picture is composed
+mainly of dark and half-dark the lights will be more brilliant; but
+they will be apt to look spotty for want of half-light to spread and
+connect them, and the piece be in danger of becoming black and heavy.
+And when a picture is composed chiefly of middle tint, the dark and
+light portions have a more equal chance of coming into notice, but the
+general effect is in danger of becoming common and insipid. Light and
+shade are capable of producing many results, but the three principal
+are relief, harmony and breadth. By the first the artist is enabled to
+give his work the distinctness and solidity of nature; the second is
+the result of a union and cement of one part with another; and the
+third, a general breadth, is the necessary attendant on extent and
+magnitude. A judicious management of these three properties is to be
+found in the best pictures of the Italian, Venetian and Flemish
+Schools, and ought to employ the most attentive examination of the
+student, for by giving too much relief he will produce a dry hard
+effect, by too much softness and blending of the parts, wooliness and
+insipidity, and in a desire to produce breadth of effect he may produce
+flatness."
+
+The student should make a careful study of the values, as upon these
+will depend the entire effect of the portrait and its fidelity as a
+likeness; and the absence of these qualities of rendering light and
+shade are one of the marked features of the work of amateurs, as they
+are apt to make their shadows too dark and their lights too light. You
+should compare the portrait with the photograph you are working from,
+and preserve the same contrasts between the lights and shadows in order
+to produce satisfactory results. The best way of examining your work is
+by the use of a mirror. To the student the mirror is his best critic.
+It is before this silent observer that he submits his work with the
+certainty of receiving an honest criticism. At every step of your
+progress look at your work in a good mirror, as here it is changed
+about, the left side being the right side, and no error will escape
+detection. Sometimes you will see that what appeared true was in
+reality false, what seemed graceful in contour was distorted; here an
+eye which you thought was looking at you quite straight now mocks you
+from the glass in manifest obliquity; the mouth, which you thought had
+a pleasant expression, now looks as disdainful as can be. And so all
+through your work you will be startled; you will doubt the mirror.
+Doubt it not; your work is false. If you will be convinced show it to
+some competent artist, and he will confirm the judgment of the
+impartial mirror. Experience will soon teach you to put such reliance
+on its never capricious council that you will follow its suggestions
+implicitly, and, when your work is altered, the result will satisfy you
+invariably, that, as the proverb says of two heads, so two images are
+better than one. When you have come to this conclusion there is not a
+beauty of eighteen who will consult her glass (though it is true for a
+somewhat lighter purpose,) more eagerly, more devoutly, more
+frequently, or finally, we hope, with more triumphant satisfaction than
+will you.
+
+FOOTNOTES:
+
+[Footnote C: Essays on Art by John Burnet, New York, Edward L. Wilson.]
+
+
+
+
+STUDIO.
+
+
+The amateur is not to consider the selection of his studio or work-room
+of minor importance; the perspective, coloring, and the effect of the
+portrait will all depend, in a great measure, upon the situation and
+dimensions of the studio. It may be said in a general way that the
+larger the apartment the better. To secure the effect which it is
+essential to produce, there should be space enough left behind the
+artist to permit him to step back from six to ten or twelve feet to
+accurately view and see the effect of the portrait. I cannot urge too
+strongly upon the amateur the usefulness of frequently viewing his work
+from a distance. I would gladly save him the disappointment and chagrin
+which I have myself experienced, when having neglected this precaution,
+I have quite finished a portrait only to find it thoroughly
+unsatisfactory when looked at from a greater distance than that at
+which I had worked.
+
+You should choose a room with a north light if possible; if that is not
+available then one with a south light, and the room should be as near
+the top of the house as possible. Let the light be arranged so as to
+strike the easel at an angle of 90 degrees, and if it is a side light
+darken the lower half of the window. Do not have the side walls white,
+they should be a neutral shade; reddish is the best. For work with
+water colors or India ink you need a stand, and be sure and set it so
+that the light will be at your left when you work. Keep the studio as
+free from dust as possible, and when you have finished working for the
+day wash your brushes and place the corks in the water color bottles,
+so as to exclude the dust from them. For crayon work also set the easel
+so that the light is at the left hand.
+
+A word in regard to selecting materials. I have already spoken in
+regard to the selection of photographs for coloring. As to
+brushes--camel's hair will cost only about a third as much as sable,
+and will answer every purpose for beginners; the fine sable should be
+procured after the pupil has advanced sufficiently. In choosing a brush
+for water colors, dip it in a cup of water and draw it over the edge of
+the cup; if it has a little spring to it, and comes to a point readily
+without any of the hair straggling, it is all right; if not, reject it.
+Winsor and Newton's Chinese White is the best white paint. For mixing
+the colors you can get a slant with eight divisions, or a nest of
+saucers. In selecting glass for mounting pictures choose that which is
+free from blisters.
+
+
+
+
+FRAMING.
+
+
+The following directions in regard to framing will, I hope, be found
+advantageous. When framing with a passepartout mat, always use
+
+    For a 16×20 portrait an 18×22 frame,
+     "    18×22    "     "  20×24   "
+     "    20×24    "     "  22×26   "
+     "    24×29    "     "  25×30   "
+
+I make a life-size portrait 25×30 on a 24×29 strainer. The reason for
+using a larger frame than strainer is this: that it invariably happens
+that the head of the portrait will not come in exactly the proper place
+in the opening of the passepartout, and by having the frame two inches
+larger each way you will be able to bring the head wherever desired in
+this opening. When placing the picture in the frame, lay the latter
+face down on a table and put in the glass, which should have been
+perfectly cleaned; lay in the passepartout and fasten it with small
+brads. Then lay the crayon down on the table face up and turn the frame
+over on it, and after you have it in the proper place, draw the picture
+and frame partially over the edge of the table, and from underneath
+mark the back of the passepartout where the edges of the picture come;
+then turn the frame and picture over so that it shall be face down. Now
+cut eight strips of old tin-type metal one-quarter of an inch wide and
+three inches long, making holes at each end of them for the tacks, and
+with these strips fasten the picture in its place by tacking one end of
+each to the strainer and the other end to the frame. Also cut a piece
+of heavy manilla paper the size of the frame, lay it on a board, dampen
+it with a sponge, apply starch paste around each side and the ends for
+a space of six inches, and lay it over the back of the picture and
+frame, pressing it down on the latter; then set it away to dry. This
+will make a neat smooth back which will exclude moth and dust from the
+portrait.
+
+
+
+
+PASSEPARTOUT MOUNTING.
+
+
+The following method will be found useful, especially if you want to
+exhibit a crayon without the expense of framing it. Lay on the mounting
+board a piece of heavy manilla paper somewhat larger than the picture,
+then put the crayon on this face up, next the passepartout, and last
+the clean glass. Mark the size of this on the paper, and then, having
+removed the glass, crayon and passepartout, cut the paper enough larger
+than the marks to allow it to come up one inch all around over the
+edges of the glass; next dampen the paper, and apply the starch paste
+to its edges about six inches all around, then lay the crayon,
+passepartout and glass back where they were on the paper, and bring the
+latter up, lapping it over the face of the glass; cut the corners out
+so as to bring them over properly; rub the edges down thoroughly on the
+glass, and with a ruler and knife trim off the paper, allowing
+one-quarter of an inch margin; then set away to dry. This will put the
+crayon in good condition to be exhibited, and will thoroughly protect
+it.
+
+
+
+
+Transparent Liquid Water Colors for Coloring Photographs.
+
+[Illustration]
+
+
+
+
+TRANSPARENT LIQUID WATER COLORS FOR COLORING PHOTOGRAPHS
+
+
+_Materials Required in Their Use._
+
+    A good photograph, an engraving or photogravure mounted on
+      card-board
+    Camel's hair brushes, Nos. 3 and 5,
+    Sheet of blotting-paper,
+    Small sponge,
+    Clean white cloth,
+    Cake of Chinese white, Winsor and Newton's water color,
+    A divided slant or nest of small dishes for holding the color when
+      mixed,
+    Box transparent liquid water colors,
+    Stick of India ink,
+    Box pulverized pumice stone,
+    Two tumblers for water.
+
+It has passed into a proverb that he is a bad workman who complains of
+his tools. It is certain that good ones simplify work and give better
+results. One of the most important things for successful art-work is to
+have at hand the proper materials and good instruments. In their
+selection do not follow a penny wise and pound foolish policy, but get
+the best you can; and these you will often find not too good.
+
+
+
+
+THEORY OF COLOR.
+
+
+The principles connected with coloring should be understood if one
+desires to produce the most pleasing and harmonious effects in
+painting. The three colors, red, yellow, and blue, with the white of
+the paper, are equal in theory to all the requirements of art in its
+true relation to color. Red, yellow and blue are called primary colors;
+that is, we cannot produce these colors from the combination of any
+others. Orange, purple and green are called secondary colors, and are
+produced by the combination of the primary colors. By the mixture of
+red and yellow we obtain orange, from red and blue, purple, from yellow
+and blue, green. The tertiary colors--broken green, gray and brown--are
+produced by the mixture of the secondary colors. From orange and purple
+we obtain brown, from orange and green, broken green, and from purple
+and green, gray. The three primary colors must always be present in a
+picture to produce harmony. Colors are divided into what are called
+warm and cold colors, the yellow and red being termed warm, and the
+blue cold. Yellow and red produce light and warmth, and it is
+impossible to produce coolness without the use of blue. In painting we
+use the three terms, light, shade and color, because they best express
+the qualities of color. Light is expressed by yellow, shade by blue,
+and color by red. While red is particularly designated as color, we
+must not forget the claims of yellow and blue, as they, together with
+red, complete the primary scale of colors. It is by placing these
+different colors in juxtaposition that we produce the proper qualities
+existing in each of the other colors. It is impossible to produce the
+effect of warmth by red and yellow unless we use the blue in connection
+with them. It is this filling up, or completing the primary scale of
+colors, that gives the term complementary, so often employed in
+speaking of colors. Thus red is said to be complementary to green, as
+green contains the other two colors of the primary scale--blue and
+yellow. Blue is complementary to orange, as orange contains red and
+yellow. Yellow is complementary to purple, as purple contains blue and
+red. The principle of using the complementary color is of the utmost
+importance in painting, or the use of color by any method, and it is on
+this principle that the harmony of color is based. When a painting is
+produced that has the colors red, yellow and blue properly balanced, a
+pleasing and harmonious effect is attained; but if these colors are not
+used in their proper relations, there is a discord, and the work is not
+satisfactory. These rules must be borne in mind by every student in
+coloring, whether he uses oil or water colors. One of the most common
+errors of amateurs is to overlook the red in landscape. Thus trees are
+too green, and the grass is insufferably green: the complementary
+color, red, has been left out.
+
+By the following experiment you may prove that when you see one color
+the eye is in a perfect condition to see its complementary color. On a
+piece of white paper, three inches wide and five inches long, draw with
+a lead pencil an oblong, half an inch from the top, one inch wide, and
+two and one-half inches long from right to left, and a similar oblong
+one-half an inch below the one already drawn. Then draw a six pointed
+star (or any other not too large figure you desire) in the centre of
+the upper oblong, and paint it with vermilion water color. Now look
+intently at the painted star for thirty seconds, and then look at the
+plain oblong below, and you will observe that the latter will gradually
+assume a very beautiful shade of green, the exact complementary color
+of the vermilion, with the figure in white upon it--unless you should
+happen to be color blind. If that is the case, the experiment will
+demonstrate that fact.
+
+
+
+
+COLORS.
+
+
+Transparent water colors are put up in boxes containing nine colors,
+and as you reduce them in the proportion of one part of color to eight
+of water, a single box will last a long time. They can be bought of
+almost any dealer in artist's materials, and are designated as
+Florentine, Egyptian, Grecian, and by other names. Care should be used
+in procuring those which are pure and fresh. The colors are yellow,
+blue, rose, violet, magenta, flesh, brown, gold and black. The labels
+on the bottles give directions for mixing.
+
+
+
+
+YELLOW.
+
+
+Yellow is one of the primary colors and one of the most useful, as it
+enters into the coloring of almost every picture. Transparent yellow is
+very brilliant, and can be used with any other color. Yellow and red
+make orange, yellow and blue make bright green, yellow and black a dull
+green. In landscapes, yellow is used in the middle distance with blue
+and rose and magenta. In the foreground it is used with blue and black
+for green, and is especially adapted for brilliant touches of foliage,
+grasses, and light places in the ground. In portraits a very little can
+be used in the reflected lights on the faces, and, when mixed with
+brown, for light shades of hair and eyebrows; for light dresses, used
+weak, it makes a very nice cream color. It can also be used very weak
+for laces, the strong lights being afterwards touched up with Chinese
+white, but not when the picture is to be mounted on glass. This color
+will ordinarily work nicely and give good results wherever its use
+seems appropriate, but care must always be exercised not to use it too
+strong.
+
+
+
+
+BLUE.
+
+
+This is another of the primary colors and a very essential one, it
+being the nearest allied to shade, and although not shade itself, no
+shadows can be produced without it. We will find it, therefore,
+mingling with all the shades of nature between the lights and shadows.
+It would be in vain for us to introduce all our warm colors, if the
+cool tints that are produced by blue are wanting; for, without that,
+the work will appear heavy, as it is the contrast between blue and the
+warm colors that produces a balance of color. Blue mixed with yellow
+makes a very brilliant green, with gold a duller green, with magenta a
+purple. In landscapes it is used in skies and the middle distances, but
+not in the foreground, unless mixed with yellow. Blue can be mixed with
+rose or magenta for sunset skies. When the horizon is represented a
+streak of blue or rose, or of blue and magenta, will give a very
+pleasing effect. In portraits if you have a light background, a thin
+wash of blue can be used over it. The same can also be used for blue
+eyes and for dresses when they are light in the picture, also in all
+the half-shadows of the dresses or draperies without regard to what
+their other color may be.
+
+
+
+
+ROSE.
+
+
+This is the nearest approach to red that we have in these colors, and
+as it fills out the scale it is an essential one. It is, in fact, a
+very delicate shade of rose. For landscape it is used only in the
+skies, and then only a little near the horizon for sunset effects. For
+portraits it is used in the drapery for making a very light shade of
+pink, and it can be used generally when you want to make a very
+delicate effect. The photographic print on which it is used should not
+be too dark.
+
+
+
+
+VIOLET.
+
+
+This is a very strong and brilliant color, and therefore needs more
+than usual care in handling. In landscapes it is only used in certain
+skies near the horizon, and but very seldom even then. It is more
+especially designed for portraits, and there particularly in drapery to
+make very decided effects of strong color; but it can only be used when
+the dress or draperies are dark in the photograph.
+
+
+
+
+MAGENTA.
+
+
+This also is a powerful color and must be used carefully. It is not
+adapted to landscapes, but in portraits is used for dresses and
+accessories. If the photograph requires a dark dress this color will
+make it a beautiful shade.
+
+
+
+
+FLESH.
+
+
+This color can be used a very little in the skies of landscapes when
+there is a sunset effect to be represented. In portraits it is used to
+color the faces and hands. After it is dry, retouch the cheeks and lips
+with the same color.
+
+
+
+
+BROWN.
+
+
+This color is used in all the shadows. In landscapes, in some
+instances, it serves for use in the middle distance and foreground; the
+light places should be retouched with yellow or gold. It is also used
+for tree trunks, fences, and the like. In portraits it serves to color
+the hair and eyes, and appears in the dark shadows of the drapery and
+furniture. If the background is dark, a nice effect is produced by
+tinting it a little with this color.
+
+
+
+
+BLACK.
+
+
+In transparent color this has more the effect of a dark gray than a
+brilliant black, such as is produced with body colors. When you want a
+very dark black, it is better to use a little India ink with it. It is
+used in the skies of landscapes when you wish a gray effect, or to
+subdue a too strong blue color or red, and in foregrounds for rocks. In
+connection with yellow it will make a sombre green for trees,
+mountains, etc. In portraits it is used for the hair and eyes, in the
+shadows around the mouth, and in drapery in connection with the other
+colors.
+
+
+
+
+GOLD.
+
+
+This is a combination of yellow and red, and in general can be used
+wherever either of these colors would answer. In landscapes a little
+can be used in the skies, the middle distances, and lights on the
+ground in the foreground. In portraits it is used to color the drapery
+and jewelry.
+
+
+
+
+INSTRUCTIONS FOR USING LIQUID WATER COLORS.
+
+
+Fill the two tumblers with water, and have all the other materials
+ready and convenient to work with. If you have selected a burnished and
+mounted photograph wet its surface with saliva; unburnished
+photographs, photogravures and engravings do not require this
+treatment, but in coloring them it will be necessary to mix a weak
+solution of gum arabic with the colors to prevent their penetrating the
+paper. If printed on too thin a paper the photogravure or engraving
+should be mounted. If it is found that the colors "crawl" or spread on
+the photograph, mix a little acetic acid with the colors you are using,
+and should this fail to remove the difficulty, rub a pinch of pumice
+stone over the photograph with the fingers.
+
+If the photograph is a portrait commence with the background, washing
+it all over with a brushful of diluted color, being careful not to get
+any on the face. If the background is light, use a weak solution of
+blue, if dark, a brown solution. The majority of backgrounds only need
+a very little tinting--just sufficient to change the color. For the
+face use flesh color, diluting it to the proper shade, washing it
+entirely over the face, and with a stronger solution of the same color
+tint the cheeks and lips, giving them a little brighter effect than the
+flesh color. Touch up the shadows in the face with the brown, and if
+there are any reflected lights use a very weak solution of the yellow
+color for them; then with some very weak black make the shadows around
+the mouth a little darker; next with a solution of blue, also very
+weak, strengthen the shadows in the forehead and around the temples;
+then color the eyes, using a small brush. If they are blue, use a weak
+solution of blue, if gray, use a little black, and if brown, then that
+color. Next color the hair; if brown, use brown mixed with a little
+black to take away the reddish color; if auburn, use brown and yellow,
+with a little gray between the lights and shadows. In working on the
+hair, move your brush in the direction of the lines of the hair; if
+wavy, then cause your brush to follow its lines. After you have thus
+gone over it, darken the shadows with a stronger solution of the same
+color. After the hair, paint the eyebrows and beard, if there is any,
+with the same color.
+
+
+
+
+DRAPERY.
+
+
+You must remember in using these liquid colors that they are
+transparent, and, therefore, whenever the print is light you cannot
+make it dark, unless you strengthen the shadows by applying opaque
+colors. For dresses, if they are light, use the delicate colors to suit
+your fancy, either the rose, blue, yellow, or gold; when they are dark,
+use the magenta or violet, being careful to spread the colors evenly.
+After you have once colored the dresses, then with a stronger solution
+of the same color darken the shadows; if you then touch up the
+half-shadows with blue the effect will be still finer. For neckties or
+ribbons use the complementary color to that of the dress. For laces use
+a weak solution of yellow, and after it is dry touch up the strong
+lights with Chinese white. If there is a curtain in the picture use the
+complementary color to the dress. For chairs use brown. If sky, trees
+and grass are to be painted, color them according to the directions
+given for landscapes under the different colors; only be sure to modify
+them, and keep them low in tone and color.
+
+In laying on flat washes of color, the brush must be held nearly
+upright and should be passed boldly over the surface; the color should
+then gradually be brought down and spread equally over the whole
+surface as rapidly as possible, in order to avoid letting any part dry
+before the whole has been covered; then whatever surplus there may be
+should be carefully sponged off. When you apply the wash of color to
+the picture the latter should not be held flat, but at a slight angle,
+so that the color will settle down towards the bottom of the picture.
+
+These colors are more suitable for figures and landscapes combined than
+they are for landscapes alone, yet very pretty effects in landscapes
+can be produced with them. If any white spots should be found in the
+photograph, as very often happens, after the picture is quite complete,
+touch them out with India ink, using a small brush.
+
+
+
+
+LANDSCAPE.
+
+
+If the sky is to be blue, wash it all over with a weak solution of
+blue; if there are white clouds, you can touch up the highest lights
+with Chinese white; if there is a sunset or rosy effect, use a weak
+solution of rose or a little magenta. But it is best not to try to make
+too much of the sky, as the gray that is generally in it will give a
+very pretty effect and leave more contrast between the figures and the
+sky. For the middle distance mix blue, rose, and a little yellow or
+gold if you want it greenish, or you can use a very little brown. The
+nearer the trees come in the foreground the stronger in color they
+should be; that is, they should tend more to the green and brown and
+less to the bluish color. If they are to be bright green use blue and
+yellow, and retouch the light places with yellow. You can make the
+green duller by mixing a little black with the yellow, or you can make
+a richer green by using blue, gold and brown, and then touching up the
+lights with gold, and the shadows with brown. For the grass use blue
+and yellow, and retouch the lights with yellow; for the ground use
+brown, and retouch the lights with gold; for tree trunks, fences, and
+the like, use brown; for rocks, use black and a little brown.
+
+
+
+
+THE PRINCIPLE.
+
+
+The study of painting as an art is based on three considerations, form,
+light and shade, and color. I will now treat of color--the form, and
+light and shade being furnished for us in the photograph. Photography
+as a means of art education in its influence on the public is salutary.
+In spite of all its falsity it is the best teacher of the first
+elements of criticism and knowledge of the facts of form and light and
+shade. Photography does not produce color, so that we will add the one
+link to the chain that is wanting. As we are dealing with pictures
+finished in light and shade, it is well that we should have rules to
+aid in choosing good ones to work on.
+
+In selecting a photograph to color we want as perfect a print as it is
+possible to procure. A light one is preferable. Notice in particular if
+it is well defined, that the shadows and middle shades are clear, the
+lights pure, and that it is free from defects and spots. Many think
+that they can take a poor photograph, and, by coloring it, cover up the
+defects, but they are wrong in this, for the transparent colors will
+not conceal defects. The best rule is that the better the photograph
+the better will be the picture when finished. The Soule Photograph
+Company, No. 338 Washington Street, Boston, Mass., furnish photographic
+reproductions, mounted and unmounted, of all the best paintings in the
+world, in both public and private art galleries, and their photographs
+are the best to color. Therefore, to begin with, have a perfect picture
+to color. Scholars in commencing to use the brush will not be able to
+produce bold effects of color, and will only acquire that power by use
+and practice. By bold effects I do not mean that one part is to be more
+prominently rendered than any other portion of the work, but merely the
+brilliancy of coloring which distinguishes professional from amateur
+work. In any kind of painting it must be borne in mind, that there are
+no decided lines forming the edges of any object. The point insisted on
+is that the boundaries of objects must be of that color that will
+harmonize and subdue the picture, producing a soft, delicate effect.
+
+I would advise all who begin to paint to commence with water colors, as
+they are the easiest to manipulate, the liquid water colors being
+easier than the body colors, and their use the simplest of all kinds of
+painting. The photograph being a fac-simile of a subject as it appears
+to the eye in form and light and shade, furnishes a picture perfect
+except in color, while the liquids supply the color in the form best
+adapted to teaching the first steps in its use. It is hoped, though,
+that after the student has thoroughly mastered this course of study, he
+will attempt something higher and more difficult in the study of art.
+
+
+
+
+French Crystals.
+
+[Illustration]
+
+
+
+
+FRENCH CRYSTALS.
+
+
+These are photographs colored with liquid water colors and mounted on
+glass. For several years a process has been taught by which a
+photograph is rendered transparent by the use of paraffine oil, etc.,
+then mounted on glass, and colored from the back with oil paints. While
+by this method a picture pleasing at the time could be produced, yet
+unless the process was perfectly executed the oils would decompose and
+the picture become yellow and spotted. The use of water colors entirely
+overcomes these objections, as it is so simple that any one can employ
+them perfectly, and as there are no oils used in their production they
+cannot change or turn yellow.
+
+
+
+
+MATERIALS.
+
+
+    Convex glasses on which to mount photographs,
+    Bottle of Florentine, Egyptian, Grecian or other compound for
+      mounting on glass,
+    Best French picture glass,
+    Some gummed paper,
+    A dish in which to soak photographs,
+    Some dark, thin, fancy paper,
+    Sheet of blotting paper.
+
+
+
+
+THE METHOD.
+
+
+Having secured a good photograph, rub a little pumice stone over it
+with the finger, and then, if it is mounted, remove it from the card by
+placing it in warm water and allowing it to soak for an hour or two, or
+over night if necessary. After it is thus freed from the card lay it
+face down on a piece of glass, and sponge off all the starch from the
+back. Cut a piece of blotting paper the size of the picture and lay it
+on a glass, wetting it with water applied with a sponge; then lay the
+photograph, still wet, on the blotting paper, and, with a sponge,
+remove all the surplus water from its surface. Now proceed to color it
+according to the directions given in the preceding pages for coloring
+photographs with transparent liquid water colors. In case you should
+put on too much color, let the photograph soak a few moments in warm
+water, when the surplus color will gradually come out, and you may then
+recolor it. After it has been finished to your satisfaction, proceed to
+mount it according to the directions next given.
+
+
+
+
+MOUNTING FRENCH CRYSTALS.
+
+
+The glass for mounting, whether flat or convex, should be the same size
+as the picture. It should be dipped in water and permitted to drain
+off, but do not dry it; pour a little of the compound on the side
+against which the photograph is to be placed--the hollow side, if the
+glass is convex--let it drain off and lay the picture face down upon
+it. With the thumb and finger commence at the centre of the photograph,
+smoothing it down close to the glass, forcing all the air bubbles out
+to the edges, thus continuing until the picture is entirely smoothed
+out, and at every point in actual contact with the glass. During this
+process hold the glass at an angle, so that you can see if there are
+any air bubbles or glistening places in it by examining its face
+occasionally; and always let a little of the compound get on the back
+of the photograph, as it allows the fingers to glide over it more
+easily and lessens the chance of tearing it. Now take a second glass
+the same size as the first, and having thoroughly cleaned it, fasten it
+to the back of the other by small strips of gummed paper. Then place a
+piece of card-board of the same size on the back of the two glasses and
+fasten the three together also with small strips of gummed paper;
+finally securing the whole firmly together by binding it with some
+large strips, and your picture is ready to frame. In case you do not
+care to frame it, cut out a piece of some dark fancy paper, a quarter
+of an inch on each edge larger than the picture, and fasten it, dark
+side out, on the back, allowing the quarter of an inch to lap over and
+be pasted on the face, after which straighten the edges with a ruler
+and sharp knife.
+
+
+
+
+FINISHING PHOTOGRAPHS IN INDIA INK.
+
+
+The principles that have been given in regard to finishing photographs
+with lines, apply also to finishing with India ink--with the exception
+that in the manipulation of the ink it must be remembered that it
+cannot be taken out; therefore, you must commence to finish the
+photograph gradually, and produce the proper strength by repeatedly
+working over it. The old method of making India ink portraits was to
+have a print on "plain" paper--a kind without albumen on its surface.
+The great disadvantage of "plain" paper is that the lights and shadows
+on it are not strong, and therefore it takes too much work to finish
+the picture.
+
+The following method (which is very simple and can be used in work on
+albumen paper, provided you have treated it by rubbing pumice stone
+over its surface with your fingers), adapts it to India ink. Of course
+the pumice stone treatment destroys the albumen on the surface, causing
+it to have a dull appearance, but after the picture has been finished
+its lustre can be restored by the use of a not too warm burnisher.
+
+In finishing the photograph commence on the hair by washing it all
+over (with the exception of the highest light) with a weak solution of
+the ink, using the brush in the same direction that the hair goes;
+after this has dried, indicate the half-shadow with a little stronger
+wash, and after drying it again put in the deeper shadows, then the
+eyebrows, eyes and beard, if the subject has one.
+
+Faces are finished in India ink on the line principle,[D] which shows
+the grain of the flesh. Commence on the forehead with a very weak
+solution, and then continue it all over the face, repeatedly working
+and cross hatching with lines until the face is dark enough; then
+strengthen the shadows under the eyes, nose, mouth and chin. After the
+face is completed put in the clothes. This you do by washing them over
+with two or three solutions of the ink, and then producing the line
+effect as in work on crayon portraits, explained on page 76, the
+difference in the nature of the material used being always borne in
+mind. After the picture is otherwise completed, you can brighten up the
+eyes and some of the strongest shadows with a solution of gum arabic
+and water.
+
+FOOTNOTES:
+
+[Footnote D: See pages 57 and 72.]
+
+
+
+
+CONCLUSION.
+
+
+While it is thought that all essential instructions on the topics
+treated of have been given in the foregoing pages, and that if
+faithfully followed they will lead the pupil to attain satisfactory
+results, it is hoped that my readers who have accompanied me thus far
+will not be content to continue to use a photograph as the basis of
+their work, but will advance to the pursuit of art in a broader and
+more scientific manner. As a step in this direction the study of form,
+and light and shade, by drawing from the cast should be taken up; and
+to this work the directions as to light and shade given in the
+foregoing pages fully apply, that requiring the object to be placed in
+such a position that the light will strike it at an angle of ninety
+degrees being always borne in mind.
+
+The student will do well to gain all he can from the published works of
+the leaders in the profession, whose writings, both theoretical and
+practical, are invaluable. Three essays by John Burnet I can very
+heartily recommend. They are "Practical Hints on Light and Shade,"
+"Practical Hints on Composition," and "The Education of the Eye." These
+are published in a single volume, which is illustrated with examples
+from the great masters of the Italian, Flemish and Dutch schools, and
+should be in the hands of every amateur. They will all repay perusal
+and study until their principles are mastered. An English edition of
+these books is published by James Carpenter, London, and in this
+country they have been reproduced by Edward L. Wilson, editor of the
+_Philadelphia Photographer_. Another book which abounds in valuable and
+practical information for the amateur and can be highly commended, is
+"Art Recreations, a Guide to Decorative Art," by Marion Kemble,
+published by S. W. Tilton & Co., Boston; also J. Bacon's "Theory of
+Coloring," issued by Geo. Rowney & Co., England.
+
+Those who are disposed to treat disdainfully the work of finishing
+photographs in crayon and color as not demanding truly artistic
+qualities, should not forget that success here has still a real value
+in awakening in many who undertake it a feeling for art of a higher
+kind, and in developing a natural talent which otherwise might have
+been undiscovered. Many an artist now looks back with pleasure and
+gratitude to this sort of work, in which he received the first impetus
+toward higher effort.
+
+In answer to the assertion which is sometimes made that transparent
+water colors are not permanent, I claim that in the sense in which the
+word is ordinarily used in connection with photography they may
+properly be called so. In this sense the lasting qualities which
+characterize the materials used by the old masters are not looked for,
+but where photographs have been thus colored, finished in the form of
+French crystals, and properly sealed from the atmosphere, they are
+practically permanent. I have some in my possession that were made
+years ago, and they are as bright and fresh to-day as when first
+colored. It can be truly said that photographs colored in this way make
+very beautiful and pleasing pictures, obtainable with but little work
+and expense, and having practical permanency of color.
+
+As a final word to those who intend to follow art as a profession, I
+urge the earnest study and mastery of drawing at the outset as the
+foundation of all art; then take up work in body water colors, and when
+the theory of coloring is fully understood, do not neglect the careful
+reading of books of acknowledged merit bearing on your work. The more
+notes you take in the course of your reading the more fully you will
+assimilate the author's thought, while, at the same time, you furnish
+the easiest means of rapid review. After all, your soundest basis for
+work will be your deep and continuing love for it, and your willingness
+to labor long and conscientiously to attain excellence. Do not imagine
+that the profession of an artist is that of an idler. On the contrary,
+of all occupations it is perhaps the most active, for one is constantly
+engaged, if not with art itself, at least with its materials.
+
+Every artist will confess that were it not for the charm with which it
+rewards the votaries who follow it from love, the pursuit would be a
+painful one, such vigilant precaution does it require, such constant
+foresight, such calculation and preparation against possible difficulty
+on every hand; but the true artist, happy in the daily gain of
+knowledge which his experience brings him, and delighted with the
+gradual mastery of his work, as a rule lives along enjoyably, retaining
+more than most men the freshness of youth while he gains in power as he
+advances in years. So pleasant a fate as this for each of his readers
+is the closing wish of the author.
+
+
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+Moved some illustrations to avoid breaking up paragraphs of text. The
+page references in the List of Illustrations refer to the original
+book.
+
+Corrected minor punctuation errors and hyphenation inconsistencies, and
+made the following changes:
+
+Page 50: Changed necesssary to necessary:
+  (all the details necesssary).
+
+Page 67: Changed Appelton to Appleton:
+  (From the Annual Encyclopedia. Copyrighted, 1891, by D. Appelton).
+
+Page 74: Changed where-ever to wherever:
+  (using the latter where-ever a lighter effect is required).
+
+Page 90: Changed picrure to picture:
+  (And when a picrure is composed chiefly of middle tint).
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CRAYON PORTRAITURE ***
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+<pre>
+
+The Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Crayon Portraiture
+       Complete Instructions for Making Crayon Portraits on Crayon
+              Paper and on Platinum, Silver and Bromide Enlargements
+
+Author: Jerome A. Barhydt
+
+Release Date: October 13, 2009 [EBook #30248]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CRAYON PORTRAITURE ***
+
+
+
+
+Produced by Chris Curnow, Diane Monico, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+
+
+<hr style="width: 65%;" />
+<h1 class="sans">Crayon Portraiture.</h1>
+<hr style="width: 65%;" />
+<p class="figcenter" style="width: 478px;">
+<a name="frontispiece" id="frontispiece"></a>
+<img src="images/image001.jpg" width="478" height="600" alt="FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER&mdash;STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT." title="FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER&mdash;STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT." />
+<span class="caption">FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER&mdash;STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT.</span>
+</p>
+<hr style="width: 65%;" />
+
+
+
+<h1>CRAYON PORTRAITURE</h1>
+
+<p class="title"><span class="smcap">Complete Instructions for Making Crayon<br />
+Portraits on Crayon Paper and on<br />
+Platinum, Silver and Bromide<br />
+Enlargements</span><br />
+<br />
+<small>ALSO DIRECTIONS FOR THE USE OF</small><br />
+<big>TRANSPARENT LIQUID WATER COLORS</big><br />
+<small>AND FOR MAKING</small><br />
+<big>FRENCH CRYSTALS</big><br />
+<br />
+<br />
+<small>BY</small><br />
+
+<big>J. A. BARHYDT</big><br />
+<br />
+<small><span class="smcap">Author of Article on Crayon Portraiture in</span><br />
+<i>Appleton's Annual Cyclopedia, 1890</i>.</small><br />
+<br />
+<br />
+Illustrated<br />
+<br />
+<small><i>Revised and Enlarged Edition</i></small><br />
+<br /><br />
+NEW YORK<br />
+THE BAKER &amp; TAYLOR CO.<br />
+<small><span class="smcap">33-37 E. 17th Street, Union Square North</span></small><br />
+</p>
+<hr style="width: 65%;" />
+
+<p class="center"><small><span class="smcap">Copyright, 1886 and 1892</span></small><br />
+
+<small><span class="smcap">By J. A. BARHYDT</span></small><br /><br /><br /></p>
+
+
+<p class="center"><small>ROBERT DRUMMOND, PRINTER, NEW YORK</small></p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2>
+
+
+<p>In issuing this second treatise on Crayon Portraiture,
+Liquid Water Colors and French Crystals, for the use of
+photographers and amateur artists, I do so with the hope
+and assurance that all the requirements in the way of instruction
+for making crayon portraits on photographic enlargements
+and for finishing photographs in color will be
+fully met. To these I have added complete instructions
+for free-hand crayons.</p>
+
+<p>This book embodies the results of a studio experience of
+twenty-four years spent in practical work, in teaching, and
+in overcoming the everyday difficulties encountered, not
+alone in my own work, but in that of my pupils as well.
+Hence the book has been prepared with special reference to
+the needs of the student. It presents a brief course of precepts,
+and requires on the part of the pupil only perseverance
+in order that he may achieve excellence. The mechanical
+principles are few, and have been laid down in a
+few words; and, as nearly all students have felt, in the
+earlier period of their art work, the necessity of some general
+rules to guide them in the composition and arrangement<span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span>
+of color, I have given, without entering into any
+profound discussion of the subject, a few of its practical
+precepts, which, it is hoped, will prove helpful.</p>
+
+<p>While this book does not treat of art in a very broad
+way, yet I am convinced that those who follow its teachings
+will, through the work they accomplish, be soon led to a
+higher appreciation of art. Although this kind of work
+does not <i>create</i>, yet who will say that it will not have accomplished
+much if it shall prove to be the first step that
+shall lead some student to devote his or her life to the
+sacred calling of art?</p>
+
+<p>It has been said that artists rarely, if ever, write on art,
+because they have the impression that the public is too ill-informed
+to understand them&mdash;that is, to understand their
+ordinarily somewhat technical method of expression. If,
+therefore, in the following pages I may sometimes seem to
+take more space and time for an explanation than appears
+necessary, I hope the student will overlook it, as I seek to
+be thoroughly understood.</p>
+
+<p>My hope with reference to this work is that it may
+prove of actual value to the earnest student in helping him
+reach the excellence which is the common aim of all true
+artists.</p>
+
+<p class="author">J. A. Barhydt.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2>
+
+<ul>
+<li>&nbsp;<span class="tocright">PAGE.</span></li>
+
+<li>Preface      <span class="tocright"><a href="#Page_ix">ix</a></span></li>
+
+<li>Crayon Portraiture      <span class="tocright"><a href="#Page_15">15</a></span></li>
+
+<li>Photographic Enlargements      <span class="tocright"><a href="#Page_19">19</a></span></li>
+
+<li>Crayon Materials      <span class="tocright"><a href="#Page_22">22</a></span></li>
+
+<li>The Specific Use of Crayon Materials      <span class="tocright"><a href="#Page_25">25</a></span></li>
+
+<li>The Strainer      <span class="tocright"><a href="#Page_30">30</a></span></li>
+
+<li>Mounting Crayon Paper and Platinum and Silver Enlargements      <span class="tocright"><a href="#Page_32">32</a></span></li>
+
+<li>Mounting Bromide Enlargements      <span class="tocright"><a href="#Page_37">37</a></span></li>
+
+<li>Outlines&mdash;Negative Outline      <span class="tocright"><a href="#Page_39">39</a></span></li>
+
+<li>Magic Lantern Outline      <span class="tocright"><a href="#Page_42">42</a></span></li>
+
+<li>Transfer Outline      <span class="tocright"><a href="#Page_46">46</a></span></li>
+
+<li>The Metroscope      <span class="tocright"><a href="#Page_47">47</a></span></li>
+
+<li>The Pantograph      <span class="tocright"><a href="#Page_49">49</a></span></li>
+
+<li>Crayon Effects&mdash;The Four Methods of making Backgrounds      <span class="tocright"><a href="#Page_51">51</a></span></li>
+
+<li>Free-hand Crayons and those made from Photographic Enlargements      <span class="tocright"><a href="#Page_53">53</a></span></li>
+
+<li>Filling in the Free-hand Crayon      <span class="tocright"><a href="#Page_55">55</a></span></li>
+
+<li>Line Effect      <span class="tocright"><a href="#Page_57">57</a></span></li>
+
+<li>Stipple Effect      <span class="tocright"><a href="#Page_59">59</a></span></li>
+
+<li>Backgrounds&mdash;General Principles      <span class="tocright"><a href="#Page_62">62</a></span></li>
+
+<li>First Method of making the Background&mdash;Stump Effect      <span class="tocright"><a href="#Page_65">65</a></span></li>
+
+<li>Second Method of making the Background      <span class="tocright"><a href="#Page_66">66</a></span></li>
+
+<li>Third Method of making the Background&mdash;Line Effect      <span class="tocright"><a href="#Page_67">67</a></span></li>
+
+<li>Fourth Method of making the Background&mdash;Stipple Effect      <span class="tocright"><a href="#Page_70">70</a></span></li>
+
+<li>Face&mdash;Line Effect      <span class="tocright"><a href="#Page_72">72</a></span></li>
+
+<li>Dress&mdash;Line Effect      <span class="tocright"><a href="#Page_76">76</a></span></li>
+
+<li>Bromide Crayons      <span class="tocright"><a href="#Page_78">78</a></span></li>
+
+<li>Finishing Bromide Enlargements      <span class="tocright"><a href="#Page_82">82</a></span></li>
+
+<li>Monochromes      <span class="tocright"><a href="#Page_88">88</a></span></li>
+
+<li>Values      <span class="tocright"><a href="#Page_89">89</a></span></li>
+
+<li>The Studio      <span class="tocright"><a href="#Page_93">93</a></span></li>
+
+<li>Framing      <span class="tocright"><a href="#Page_95">95</a></span></li>
+
+<li>Passepartout Mounting      <span class="tocright"><a href="#Page_97">97</a></span></li>
+
+
+<li>TRANSPARENT LIQUID WATER COLORS FOR COLORING<br />
+PHOTOGRAPHS.&mdash;MATERIALS REQUIRED IN THEIR USE      <span class="tocright"><a href="#Page_101">101</a></span></li>
+
+<li>Theory of Color      <span class="tocright"><a href="#Page_103">103</a></span></li>
+
+<li>Colors      <span class="tocright"><a href="#Page_106">106</a></span></li>
+
+<li>Yellow      <span class="tocright"><a href="#YELLOW">106</a></span></li>
+
+<li>Blue      <span class="tocright"><a href="#BLUE">107</a></span></li>
+
+<li>Rose      <span class="tocright"><a href="#ROSE">108</a></span></li>
+
+<li>Violet      <span class="tocright"><a href="#VIOLET">109</a></span></li>
+
+<li>Magenta      <span class="tocright"><a href="#MAGENTA">109</a></span></li>
+
+<li>Flesh      <span class="tocright"><a href="#FLESH">110</a></span></li>
+
+<li>Brown      <span class="tocright"><a href="#BROWN">110</a></span></li>
+
+<li>Black      <span class="tocright"><a href="#BLACK">111</a></span></li>
+
+<li>Gold      <span class="tocright"><a href="#GOLD">111</a></span></li>
+
+<li>Instructions for using Liquid Water Colors      <span class="tocright"><a href="#Page_112">112</a></span></li>
+
+<li>Drapery      <span class="tocright"><a href="#Page_114">114</a></span></li>
+
+<li>Landscape      <span class="tocright"><a href="#Page_116">116</a></span></li>
+
+<li>The Principle      <span class="tocright"><a href="#Page_117">117</a></span></li>
+
+<li>FRENCH CRYSTALS      <span class="tocright"><a href="#Page_123">123</a></span></li>
+
+<li>Materials      <span class="tocright"><a href="#Page_124">124</a></span></li>
+
+<li>The Method      <span class="tocright"><a href="#Page_125">125</a></span></li>
+
+<li>Mounting French Crystals      <span class="tocright"><a href="#Page_126">126</a></span></li>
+
+<li>Finishing Photographs in India Ink       <span class="tocright"><a href="#Page_128">128</a></span></li>
+
+<li>Conclusion      <span class="tocright"><a href="#Page_130">130</a></span></li>
+</ul>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS.</h2>
+
+
+<ul>
+<li>&nbsp;<span class="tocright">PAGE.</span></li>
+
+<li>Free-hand Crayon made on Steinbach Crayon Paper with a Magic Lantern Outline,<br />
+showing Stipple Effect in Face and Drapery and Broken Line Effect in Background      <span class="tocright"><i><a href="#frontispiece">Frontispiece</a></i></span></li>
+
+<li>Negative Outline&mdash;Dark Chamber      <span class="tocright"><a href="#negative_outline">40</a></span></li>
+
+<li>McAllister's Magic Lantern, No 653, with Wonder Camera Attachment      <span class="tocright"><a href="#mcallister">42</a></span></li>
+
+<li>Magic Lantern Outline      <span class="tocright"><a href="#magic_lantn_outln">43</a></span></li>
+
+<li>Lines to produce Stipple Effect      <span class="tocright"><a href="#lines_stipple">60</a></span></li>
+
+<li>Background&mdash;Line Effect      <span class="tocright"><a href="#bg_line_effect">67</a></span></li>
+
+<li>Line Effect for Face      <span class="tocright"><a href="#line_face">72</a></span></li>
+
+<li>Line Effect for Dress      <span class="tocright"><a href="#line_dress">76</a></span></li>
+
+<li>Crayon executed over Bromide Enlargement made from Original Negative,<br />
+showing Stipple Effect throughout      <span class="tocright"><a href="#bromide">80</a></span></li>
+</ul>
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+
+<p class="figcenter" style="width: 600px;">
+<img src="images/image015.png" width="600" height="217" alt="" title="" />
+</p>
+
+
+
+
+<h2><a name="CRAYON_PORTRAITURE" id="CRAYON_PORTRAITURE"></a>CRAYON PORTRAITURE.</h2>
+
+
+<p>To many who know nothing about the art of crayon
+portraiture, the mastery of it not only seems very difficult,
+but almost unattainable. In fact, any work of art of
+whatever description, which in its execution is beyond the
+knowledge or comprehension of the spectator, is to him
+a thing of almost supernatural character. Of course, this is
+more decided when the subject portrayed carries our
+thoughts beyond the realms of visible things.</p>
+
+<p>But the making of crayon portraits is not within the
+reach alone of the trained artist who follows it as a profession.
+I claim that any one who can learn to write can
+learn to draw, and that any one who can learn to draw can
+learn to make crayon portraits. Making them over a<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
+photograph, that is, an enlargement, is a comparatively
+simple matter, as it does not require as much knowledge of
+drawing as do free-hand crayons. But you must not suppose
+that, because the photographic enlargement gives you
+the drawing in line and an indistinct impression of the
+form in light and shade, you are not required to draw at
+all in making a crayon portrait over such an enlargement.
+Some knowledge of drawing is necessary, though not a
+perfect knowledge.</p>
+
+<p>Many people err in supposing that only the exceptionally
+skilled can produce the human features in life-like form
+upon the crayon paper. While recognizing great differences
+in natural aptitude for drawing in different persons,
+just as those who use the pen differ widely in their skill,
+some being able to write with almost mechanical perfection
+of form, I still hold that any one who is able to draw at
+all can succeed in producing creditable crayon portraits; and
+the lack of great skill as a draughtsman, should neither
+discourage a student nor debar him from undertaking to
+make crayon portraits (over enlargements, at least), either
+as an amateur or professional. To make a crayon from
+life undoubtably requires considerable talent and some education
+as an artist; but photography, in recent times, has
+made such advances from the old fashioned daguerreotype
+to the dry plate process and instantaneous exposure, and<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+such developments have recently been made in the field
+of enlargements and in photographic papers, that it is now
+possible for anyone, who will carefully follow the plain
+instructions given in the following pages, to make a good
+crayon portrait by the aid of the different kinds of enlargements.
+These place in his hands a perfect reproduction of
+what he wishes to make; and care and close attention to
+details will insure the rest.</p>
+
+<p>The student, however, must have courage. I tell my
+pupils not to be afraid to work freely; that if they spoil
+their work beyond their ability to redeem it, I can always
+fix it up and restore it for them; and that they should go
+ahead confidently. The reader may say that he has no
+teacher to help him out of his difficulty; but he must
+remember that he has the photographic enlargement as a
+sure guide, and that whenever he fears he is losing the outline,
+he can see at once what he is doing, by holding the
+enlargement against the light with its back towards him.
+My experience as a teacher has shown me that pupils, as a
+rule, are timid, especially that class which works mostly on
+enlargements, resulting from the fear of losing the outline
+and from lack of a thorough knowledge of drawing. I
+especially urge the necessity for boldness and freedom in
+execution. As an expert in chirography can read character
+in handwriting, so the artist's public will judge him<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>
+from his work. If he is, in fact, weak and timid, these
+traits will find expression in what he puts on paper. Let
+courage, then, be an important part of your equipment, if
+you would succeed in doing good crayon work.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span></p>
+<h2><a name="PHOTOGRAPHIC_ENLARGEMENTS" id="PHOTOGRAPHIC_ENLARGEMENTS"></a>PHOTOGRAPHIC ENLARGEMENTS.</h2>
+
+
+<p>There are three kinds of photographic enlargements used
+as a basis for crayon portraits, and, with a little experience,
+the student can determine for himself which kind will
+prove the most satisfactory.</p>
+
+<p>Free-hand crayons are made on Steinbach and other crayon
+papers, without any photograph as a basis. Silver enlargements
+are made on paper coated with a solution of chloride
+of silver, which the action of the light reduces to salts of
+silver. This is the oldest form of photography, and has
+been used since its introduction by Scheele in 1778.
+Silver enlargements are made by the aid of the sun (and
+are then called solar enlargements) or they can be made
+with the electric light.</p>
+
+<p>Platinum enlargements are a recent advance in photographic
+printing with iron salts, the process which has
+been worked out and patented by W. Willis, Jr., being a
+development of such printing. Its principle is that a
+solution of ferrous oxalate in neutral potassium oxalate
+is effective as a developer. A paper is coated with a solution
+of ferric oxalate and platinum salts and then exposed
+behind a negative. It is then floated in a hot solution<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
+of neutral potassium oxalate, when the image is
+formed.</p>
+
+<p>This process was first introduced by Mr. Willis in 1874,
+and he has since made improvements. He claims that the
+platinotype paper does not contain any animal sizing. The
+early experiments convinced him that the paper upon
+which the image was to be printed would prove an important
+factor, as all photographic paper contained animal
+sizing, which was found to be antagonistic to platinum
+salts. The action of platinum salts upon a paper containing
+animal sizing gave it a tint which no amount of acid
+washing could remove. For the past nine years Mr.
+Willis has had manufactured for his special use a Steinbach
+paper, free from the animal sizing, and he also uses a
+cold developer, thereby causing the paper to retain its
+original elasticity.</p>
+
+<p>The chief points of difference between bromide enlargements
+and silver or platinum enlargements are that, in the
+former, we have the sensitive compound of silver suspended
+in a vehicle of gelatin, and, in the latter, a thin coating of
+an aqueous solution of the sensitive salts. In the former
+process, the image is not shown until the paper has been
+developed in the bath, while in the latter, the image is
+shown upon the paper when it is exposed to the light; so
+that, in the latter, the image or picture has only to be fixed<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>
+or made permanent, while in the former, it is developed,
+then fixed. The gelatin bromide paper is coated with a
+solution of gelatin, bromide of potassium and nitrate of
+silver, developed with a solution of oxalate of potash,
+protosulphate of iron, sulphuric acid and bromide of potassium
+and water, and fixed with hyposulphate of soda. It
+is manufactured in America by E. and H. T. Anthony &amp;
+Co. and by the Eastman Dry Plate Company.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p>
+<h2><a name="CRAYON_MATERIALS" id="CRAYON_MATERIALS"></a>CRAYON MATERIALS.</h2>
+
+
+<p>The following materials will be found necessary for
+crayon work:</p>
+
+<p style="margin-left: 2em;">
+A good photographic enlargement,<br />
+Easel,<br />
+Mahl stick,<br />
+Three inch magnifying glass,<br />
+Square black Conte crayon, Nos. 1, 2 and 3,<br />
+Charcoal holder for the same,<br />
+Hardmuth's black chalk points, Nos. 1, 2, 3, 4 and 5,<br />
+Holder for the same,<br />
+Box Faber's crayon points, Nos. 1, 2 and 3,<br />
+Holder for the above crayons,<br />
+Conte crayon, in wood, Nos. 0 and 1,<br />
+6 B. Faber's holder for Siberian lead pencil points,<br />
+4 H. Faber's holder with Siberian lead pencil point,<br />
+Velour crayon,<br />
+Peerless crayon sauce,<br />
+Black Conte crayon sauce, in foil,<br />
+White crayon, in wood,<br />
+Bunch of tortillon stumps,<br />
+<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>Large grey paper stumps,<br />
+Small grey paper stumps,<br />
+The Peerless stump,<br />
+Large rubber eraser, 4 inches by 3-4 inches square, bevelled end,<br />
+Two small nigrivorine erasers,<br />
+Holder for    "          "<br />
+Piece of chamois skin,<br />
+Cotton batting of the best quality,<br />
+A sheet of fine emery paper,<br />
+A sharp pen knife,<br />
+One pound of pulverized pumice stone,<br />
+Mortar and pestle,<br />
+A large black apron,<br />
+Paste-board box about ten inches square and two inches deep,<br />
+Back-boards for mounting crayon paper and photographic enlargements,<br />
+Pliers,<br />
+Paste brush, three inches wide, to be used for starch paste or for water.<br />
+</p>
+
+<p>Experience has taught me that we cannot be too particular
+in giving directions as to the materials for our work, and
+therefore I have carefully included in the above list everything
+necessary to thoroughly equip the student. While the
+magnifying glass mentioned above is not an actual necessity,<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+still a good one will be found very useful, as it will
+often show details in the photograph which would not be
+discovered by the naked eye. My male readers may at
+first object to so feminine an article as an apron, but it will
+be found thoroughly useful, and I am sure they will never
+consent to abandon it after they have once become accustomed
+to wearing it.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+<h2><a name="THE_SPECIFIC_USE_OF_CRAYON_MATERIALS" id="THE_SPECIFIC_USE_OF_CRAYON_MATERIALS"></a>THE SPECIFIC USE OF CRAYON MATERIALS.</h2>
+
+
+<p>I will now explain the specific use and nature of these
+materials, reserving the various kinds of photographic enlargements
+and their special qualities and advantages, for
+treatment under their different manipulations.</p>
+
+<p>The easel should be set so that the light strikes the
+picture at an angle of 90 deg., and, when working from a
+side light, it will very often be necessary to darken the
+lower part of the window to accomplish this result.</p>
+
+<p>The mahl stick is held in the left hand, and is used as a
+rest for the right arm in working. Though a trifle awkward
+and difficult at first, its use must, nevertheless, be
+learned, as the hand will not be steady without it, especially
+in portrait work.</p>
+
+<p>The square black Conte crayons are for filling in where
+there are large dark places. The No. 1 is used with the
+black Conte crayon sauce in making the crayon sauce (to be
+applied with the ends of the fingers) to produce a broad
+effect and to make the stipple effect on the paper after it
+has been rubbed with pumice stone.</p>
+
+<p>The crayon points, Nos. 1, 2 and 3, are used in making
+outlines and also in putting in the lines to produce the line<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>
+effect. In general, they are to be used in free-hand
+crayons and on silver and platinum enlargements.</p>
+
+<p>The Hardmuth black chalk points are similar to the
+crayon points, and, if preferred, should be used according
+to the directions given for the crayon points.</p>
+
+<p>The Hardmuth points are made in five numbers and
+will, therefore, produce more shades of black than the
+crayon points. They are also twice as long as the latter,
+without costing any more.</p>
+
+<p>The Conte crayons, in wood, are used for finishing
+the crayon, especially the No. 0, its hardness adapting it
+to that purpose.</p>
+
+<p>The 6 B. Faber's holder, for lead pencil points, is for
+holding the Faber's Conte crayon No. 0 after it has become
+short, the wood being carefully removed before the crayon
+is placed in the holder.</p>
+
+<p>The 4 H. holder, with Siberian lead pencil point, is used
+in the very finest work on bromide paper, for finishing in
+the light places. Care must be employed not to use too
+much lead on the paper, as, being of a different color from
+the crayon, it would show if too freely applied. It is also
+used in making monochromes.</p>
+
+<p>Velour crayon is very black. It is only used to produce a
+velvet effect and whenever it is necessary to make a very strong
+dark&mdash;that is, a dark that is deeper than an ordinary shadow.<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<p>The Peerless crayon sauce is the same as the crayon sauce
+made from No. 1 Conte crayon and the black Conte crayon
+sauce in foil. It is made and put up in bottles by F. W.
+Devoe &amp; Co., and can be bought of any dealer in artist's
+materials. It will be found more convenient to get it in
+this form than to prepare it in the studio; it costs no more
+and saves the expense of a mortar and pestle. As it is
+ground by machinery and passed through a very fine
+screen, there are no small hard particles in the preparation,
+and its use is recommended.</p>
+
+<p>Black Conte crayon sauce, in foil, is used in making the
+crayon sauce to be applied with the fingers.</p>
+
+<p>White crayon, in wood, is for touching up the high
+lights of white drapery, and especially for the high lights
+on white lace; it is to be used very sparingly.</p>
+
+<p>Tortillon stumps are used in making the face, when
+it is desired to produce the stump effect, and also in
+making the hair.</p>
+
+<p>The large grey paper stump serves to make the broad
+effect of shade in the stump effect in the hair and dress.</p>
+
+<p>The Peerless stump is used to produce the same effect as
+the large grey paper stump. It will be found far better
+than the paper stump for work on the bromide paper, as it
+is made of softer material and causes the crayon to adhere
+to the paper more readily.<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
+
+<p>The large rubber eraser is to put in the broad effects of
+light in the background and dress. The small nigrivorine
+erasers are used when it is necessary to remove the crayon,
+in order to produce small decided lights&mdash;principally in
+making free-hand crayons and to produce the line effects
+over a platinum and silver enlargement. While the
+stumps are used for putting on the crayon, the erasers are
+used to remove it. The chamois is also used for removing
+the crayon, to produce broad effects of light.</p>
+
+<p>The cotton is for applying the crayon sauce to the paper and
+for rubbing the crayon at different stages in the completion
+of the picture. The crayon cannot be removed with the eraser
+unless it has first been rubbed with the cotton; and this
+must be borne in mind, as the use of the eraser at this stage
+would only result in making a black line or spot, when
+it was intended to produce a white line or spot.</p>
+
+<p>It will also be well to make a chamois block for applying
+the crayon sauce, to be worked with the tortillon stump.
+This is done by tacking onto a block, four inches long, two
+inches wide and three-quarters of an inch thick, a piece
+of chamois skin, three inches wide by five inches long,
+allowing it to cover the top, while it is fastened along the
+four edges. This is placed face down in the box of crayon
+sauce and rubbed around in it, so that the crayon will
+adhere thoroughly to the chamois.<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+
+<p>Emery paper is used to sharpen the nigrivorine erasers
+and the crayon points.</p>
+
+<p>The knife, which is a very important tool, should be a
+good one, always kept well sharpened. The best for this
+work is an ink eraser, with a rounding point, a long edge
+on one side of the blade and a short one on the other side,
+extending about an inch from the point.</p>
+
+<p>The mortar and pestle are for pounding or grinding the
+Conte crayon No. 1 and the crayon sauce, in making the
+special crayon sauce mentioned above.</p>
+
+<p>The paste-board box is intended to hold this special
+crayon sauce or the Peerless sauce.</p>
+
+<p>The back-boards are one inch thick, made to fit the back
+of the strainer (described in the next chapter), and are used
+in mounting. It will be necessary to have three different
+sizes, the most useful being 11×15, 15×19 and 19×24
+inches, to fit, respectively, strainers measuring 16×20,
+20×24, 24×29 and 25×30 inches.</p>
+
+<p>The pliers should be either what is known as shoe-maker's
+pliers (which are the cheapest) or the canvas pliers,
+used in stretching that material; they are needed to stretch
+the cloth on the strainer.</p>
+
+<p>The pulverized pumice stone is used in preparing the
+surface of crayon paper and bromide enlargements, to produce
+the stipple effect.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+<h2><a name="THE_STRAINER" id="THE_STRAINER"></a>THE STRAINER.</h2>
+
+
+<p>The strainer, on which crayon paper or any kind of
+photographic enlargement is to be mounted, should be the
+same size as the intended picture. The frame is made of
+four strips of pine wood, two inches wide, one inch thick on
+the outside, and three quarter inch on the inside, making a
+quarter inch bevel on the inside edge of the face; these
+are nailed together and glued. To this, tack a piece of
+bleached muslin, free from knots and rough places,
+which has been cut two inches larger each way than the
+frame. Use six ounce Swede upholsterers' tacks, placing
+one in the centre of the outside edge of one side and
+another directly opposite, stretching the muslin as firmly as
+possible with the fingers. Then place a third tack in the
+centre of the outside edge of the top, and a fourth in the
+centre of the bottom of the frame, stretching as before. In
+finishing, use the pliers in addition to the fingers, and remember
+that you must always stretch from the centre
+towards the corner or you will have wrinkles in the muslin.
+As this process should be thoroughly understood, I
+will give minute directions for completing the operation.
+Having already placed the four tacks as above, stand the<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>
+strainer on its bottom edge on the floor, with the back
+towards you, and put in the fifth tack two inches to the
+right of the third, that is, the one on the top previously
+mentioned. Instead of stretching the muslin directly back
+in a straight line towards you and at right angles to the
+fourth tack, you must draw it with the fingers towards the
+right hand corner. Then finish stretching, and tacking
+this edge to the right hand corner of the top, placing the
+tacks two inches apart and taking care to only draw the
+cloth sufficiently to have it perfectly smooth and straight on
+the edges, leaving the stretching to be done with the pliers;
+then turn the strainer on the side edge and tack at two
+inch intervals from the centre of the other (that is the
+upper) side to the right hand corner, same as before, and
+then tack half of the bottom edge and half of the other
+side in the same way. You will observe that you now
+have only one half of the muslin tacked&mdash;that is, one
+half on each edge&mdash;and you then complete the tacking,
+using the pliers to thoroughly stretch the muslin. This
+method has the advantage that you can stretch the muslin
+on the strainer and get it on better and in less than half
+the time required by the old method; also that you stretch
+the whole surface of the muslin with the pliers, and do it
+with only half the work.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p>
+<h2><a name="MOUNTING_CRAYON_PAPER_AND_PLATINUM" id="MOUNTING_CRAYON_PAPER_AND_PLATINUM"></a>MOUNTING CRAYON PAPER AND PLATINUM<br />
+AND SILVER ENLARGEMENTS.</h2>
+
+
+<p>Wet in clean water a piece of muslin about two inches
+larger each way than the paper you intend to mount, and
+lay it on the mounting board or table, removing all the
+wrinkles with a wet brush; then place the paper on this
+cloth, face down, and with some water and a brush, wet
+the back of the paper, continuing to use the brush until
+all the wrinkles are entirely smoothed out and the paper
+lies down perfectly flat. Any number of pieces of paper
+can be wet at the same time by placing one over the other,
+provided the larger sizes are laid down first and each is
+brushed out flat before another is placed over it. Let
+the paper soak for about fifteen minutes.</p>
+
+<p>After having removed the surplus water from the paper
+with a cloth, sponge or squeegee, apply starch paste to
+the paper with a paste brush, going over it thoroughly,
+until it has received an even coat of paste free from
+lumps. Then lay one of the back-boards on a table and,
+having placed the strainer down on it face up, give the
+cloth of the latter a coat of paste, using the same care you
+did in going over the paper, taking pains to have the edges<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+of the cloth well pasted, and to remove, by passing your
+finger all around the outside edges of the strainer, any paste
+which may be there. Now pick the paper up and place it
+on the pasted surface of the strainer, which an assistant
+should hold tipped towards you. (The help of an assistant
+will be found almost indispensable in mounting).
+After the paper is in the proper place, lay the strainer
+down and secure each corner of the paper, by first lifting
+it slightly and then rubbing it down with a clean cloth
+from the direction of the centre towards the corner you
+have lifted up. With a sharp knife trim off the edges
+of the paper and set it away to dry, but neither near a fire
+nor in too cold a place. You can very often save the remounting
+of a paper by occasionally glancing at it as it
+dries and by gently rubbing down a little with the fingers
+any places that look as if they would not stick. Very
+often the paper will be all right with the exception of this
+difficulty at one edge or corner. This is invariably the
+lower part, and is caused by the water settling there. It
+is therefore advisable to change the position of the strainer
+two or three times as it dries, letting it stand on different
+edges.</p>
+
+<p>After the paper is dry, if there are any places that
+have refused to stick fast to the cloth, it will be impossible
+for you to remedy the matter, and you must remount it.<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+You proceed, therefore, to remove the paper from the cloth.
+This you do by turning the strainer face down and filling
+the back of it with warm water, allowing it to remain
+there until you think that the paste has become thoroughly
+dissolved; then turn the strainer over and carefully
+remove the paper. If it should not come off readily, fill
+the strainer again with water, and soak it until it will
+come off. After you have removed the paper, lay it on
+a wet cloth, and with a case knife clean off the starch,
+using care not to injure the surface of the paper, and also
+clean off the starch from the strainer; then proceed to remount
+as before. When you once understand that you
+cannot spoil an enlargement on account of defective mounting,
+you will work more confidently. After you have
+tried three times to remount, and the paper still insists in
+not sticking, you must take a new strainer, as too many
+wettings will have spoilt the cloth and wood. Sometimes
+there seems to be a difference in the stretching qualities of
+the enlargement and cloth, which makes it impossible to
+produce a perfect cohesion. When, therefore, it has been
+remounted three times and does not come out perfect, your
+best course is to mount a piece of crayon paper on a new
+strainer, and after it is thoroughly dry to then mount the
+enlargement on that. This you do in the manner described
+for mounting in the first instance, directly on the<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+strainer, except that you do not coat with paste the crayon
+paper already mounted.</p>
+
+<p>It sometimes happens, that after the paper has been
+mounted and dried, it is discovered that lumps in the
+paste have caused defects to appear on the face of the paper
+in the shape of raised surfaces that unfit it for the intended
+purpose. These can be entirely removed by wetting the
+back of the strainer with some clean water immediately
+behind where the lumps of paste are, and with a knife
+scraping the cloth a little at these places; the surplus
+paste will work itself out through the cloth.</p>
+
+<p>The starch paste used in mounting should not be made
+very thick; on the contrary, it should be as thin as is consistent
+with still retaining all its adhesive qualities. Should
+you fear that it is too thick or lumpy, strain it through a
+piece of cheese cloth. In a former edition of this book I
+advised adding to the paste a little white glue dissolved in
+warm water, but I do not now consider this necessary for
+crayon paper or photographic enlargements, and do not
+recommend its use except for mounting paper of unusual
+thickness.</p>
+
+<p>The foregoing directions for mounting apply to platinum
+or silver enlargements, crayon or other kinds of paper, but
+not to bromide enlargements. The bromide paper requires
+a different method of handling on account of the gelatin<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+surface, which when wet is destroyed by contact with any
+dry substance, as the latter removes the gelatin.</p>
+
+<p>For determining the proper position of photographic
+enlargements (bust pictures) on the strainer, the following
+scale will be useful as a general guide. When the size of
+the strainer is 16×20, 20×24, 22×26, or 25×30 inches,
+the distances from its top to the top of the head of the
+portrait should be respectively 3-1/2, 4, 4-1/2 and 5-1/2 inches.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+<h2><a name="MOUNTING_BROMIDE_ENLARGEMENTS" id="MOUNTING_BROMIDE_ENLARGEMENTS"></a>MOUNTING BROMIDE ENLARGEMENTS.</h2>
+
+
+<p>The first requisite for this is a water-tight tray, large
+enough to hold the enlargements. A hard rubber tray can
+be purchased, or a wooden one that will answer the purpose
+may be made. I use one of my own construction that is
+cheap and serviceable. It is simply a wooden box, 27×32
+inches and 4 inches deep, made of 1/2 inch grooved material
+and lined with black oil cloth, not cut at the corners, but
+folded in. In this, when about half full of water, lay the
+enlargement face up, and let it remain in the water fifteen
+minutes. It should then be laid face down on the wet cloth
+(which should be all ready) as described in the preceding
+chapter, for mounting crayon paper. Care must be exercised
+to have the cloth wet all over, for if there should be
+any dry spots in it they would ruin the gelatin surface.
+With a cloth or squeegee remove the water from the
+back of the enlargement and also from the cloth around
+its edges, for if there is too much water on the edge of the
+cloth it will work up into the paste and prevent it from
+sticking when mounted. Now paste the enlargement and
+strainer according to the directions given for mounting
+crayon paper, place the enlargement on the strainer and<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+rub it down by using the fingers wet in a little water, or
+the squeegee can be used; and then trim off even with the
+outside of the strainer. Avoid rubbing too hard along the
+edges, as by so doing you will press out all the paste and it
+will not stick.</p>
+
+<p>You can remount a bromide enlargement as often as
+necessary in case it does not come out perfect, only bear in
+mind that you must not allow anything dry to touch the
+surface when wet. But I should not advise you to try
+more than three times directly on the strainer. It would
+be better to mount a piece of crayon paper on a new
+strainer, and after it is dry to remount the bromide enlargement
+on that.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
+<h2><a name="OUTLINES_NEGATIVE_OUTLINE" id="OUTLINES_NEGATIVE_OUTLINE"></a>OUTLINES&mdash;NEGATIVE OUTLINE.</h2>
+
+
+<p>After the crayon paper has been mounted on the strainer
+and dried, the next step is to obtain the outline. I will first
+treat of free-hand crayons, taking it for granted that the
+reader is not able to produce crayons from life, but works
+from a photograph. There are five different methods
+of making an outline, from which the reader can make
+his own selection.</p>
+
+<p class="figcenter" style="width: 500px;">
+<a name="negative_outline" id="negative_outline"></a>
+<img src="images/image040.jpg" width="500" height="366" alt="NEGATIVE OUTLINE&mdash;DARK CHAMBER.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="NEGATIVE OUTLINE&mdash;DARK CHAMBER.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">NEGATIVE OUTLINE&mdash;DARK CHAMBER.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>Make a negative from the photograph that is to be
+enlarged, and construct for a room that is entirely dark,
+with the exception of one window, a dark inside shutter,
+with an opening in it the size of the negative you intend
+to use. Place a cleat on each side and at the bottom
+of this opening, so that the negative may be made to
+slide in front of it. Having removed the ground glass
+from your camera box, fasten the latter against the shutter
+so that the opening comes in the centre of the box. You
+can fasten it with four hooks and eyes, or arrange cleats on
+the shutter and pieces on the box, so that it will slide into
+place. Be sure and have the box come tight against the
+shutter so that the light will be entirely excluded. Place
+the negative over the small opening in the shutter and adjust<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>
+the camera box; then stand the easel with the crayon
+strainer on it at the proper distance to give the required
+size of the enlargement and focus the image sharp on the
+crayon paper. The strainer must stand at the same angle
+as the shutter; that is, if the shutter is perpendicular then
+the strainer must stand perpendicular also. Then go over
+the outline and shadow lines with the charcoal, after which
+open the shutter and examine the outline and see if it is
+right. As you are working in the dark you are apt to
+overlook some lines. If you have done so you can close
+the shutter again and make them. If it proves to be all
+right go over it with the crayon point No. 2.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p>
+<h2><a name="MAGIC_LANTERN_OUTLINE" id="MAGIC_LANTERN_OUTLINE"></a>MAGIC LANTERN OUTLINE.</h2>
+
+
+<p class="figcenter" style="width: 471px;">
+<a name="mcallister" id="mcallister"></a>
+<img src="images/image042.jpg" width="471" height="500" alt="McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<hr style="width: 45%;" /><p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+<p class="figcenter" style="width: 600px;">
+<a name="magic_lantn_outln" id="magic_lantn_outln"></a>
+<img src="images/image043.jpg" width="600" height="401" alt="MAGIC LANTERN OUTLINE.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="MAGIC LANTERN OUTLINE.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">MAGIC LANTERN OUTLINE.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>This is the method I am using at present in my own
+free-hand crayon work, and prefer because it does not require
+a negative. I use a McAllister Magic Lantern, No.
+653, with a wonder camera attachment. This attachment<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+enables you to make an enlargement from a cabinet or
+card photograph, and to dispense with a negative. If you
+intend to do very much free-hand crayon work I should
+advise you to get one, as it will soon pay for itself. The
+lantern should be put in working condition according to
+the printed directions that come with it, and placed on
+your table. I use a table six feet long, sixteen inches
+wide, and thirty inches high. Nail to one side of the table,
+four inches from the end, a stick six feet long, one inch
+wide, and one-half inch thick, using two two-inch brads.
+One end of the stick should rest on the floor, care being
+taken that it stand perfectly perpendicular, a square being
+used if necessary to secure this result. The stick will have
+a length of 42 inches above the table, which will be ample
+for the use of a 25 by 30 strainer. Place the strainer,
+with the crayon paper mounted on it, facing outward on its
+bottom edge on the table and nail it fast to the stick with
+two brads, letting it stand at right angles with the edge of
+the table with its back towards the lantern, which is at
+the other end of the table. The object of placing the
+strainer with the back towards the lantern is that the image
+must show through the strainer or the outline would be
+drawn reversed. Draw a charcoal mark on the back of
+the strainer vertically through the centre, and mark the
+proper distance from the top of strainer horizontally where<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>
+the top of the head should come. Now move the lantern
+until you have it the proper distance from the strainer to
+make the head the size desired, and afterwards focus the
+features sharp and distinct, using the charcoal marks for
+the proper place to make the head, the vertical line coming
+through the centre of the face; then, seated at the end of
+the table, in front of the strainer, make a charcoal outline
+as in the former method.</p>
+
+<p>Of course the magic lantern can be used for producing
+an outline only at night, or in a perfectly darkened room.</p>
+
+<p>The following table will prove a safe guide to follow in
+determining the size of the head for bust pictures. The
+distance from the roots of the hair on the forehead to the
+bottom of the chin should be:</p>
+
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="hdsz">
+<tr><td align="center">For</td><td align="right"> 14</td><td align="center"> by</td><td align="right"> 17</td><td align="center"> inch</td><td align="center"> pictures,</td><td align="left"> 4</td><td align="center">inches,</td></tr>
+<tr><td align="center">"</td><td align="right"> 16</td><td align="center"> "</td><td align="right"> 20</td><td align="center">"</td><td align="center">"</td><td align="left"> 4-1/2</td><td align="center"> "</td></tr>
+<tr><td align="center">"</td><td align="right"> 18</td><td align="center"> "</td><td align="right"> 22</td><td align="center">"</td><td align="center">"</td><td align="left">5</td><td align="center"> "</td></tr>
+<tr><td align="center">"</td><td align="right"> 20</td><td align="center"> "</td><td align="right"> 24</td><td align="center">"</td><td align="center">"</td><td align="left">6</td><td align="center"> "</td></tr>
+<tr><td align="center">"</td><td align="right"> 22</td><td align="center"> "</td><td align="right"> 27</td><td align="center">"</td><td align="center">"</td><td align="left">6-1/2</td><td align="center"> "</td></tr>
+<tr><td align="center">"</td><td align="right"> 25</td><td align="center"> "</td><td align="right"> 30</td><td align="center">"</td><td align="center">"</td><td align="left">7</td><td align="center"> "</td></tr>
+<tr><td align="center">"</td><td align="right"> 29</td><td align="center"> "</td><td align="right"> 36</td><td align="center">"</td><td align="center">"</td><td align="left">7</td><td align="center"> "</td><td align="left"> showing the hands.</td></tr>
+</table></div>
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p>
+<h2><a name="TRANSFER_OUTLINE" id="TRANSFER_OUTLINE"></a>TRANSFER OUTLINE.</h2>
+
+
+<p>For this method an enlargement made from the photograph
+is required, but it needs to be an enlargement of the
+head only&mdash;that is, a 11×14 inch enlargement of the head
+will answer for a 25×30 inch crayon portrait, and serve as
+a guide to work from in making the crayon.</p>
+
+<p>Transparent tracing paper (made of fine tissue paper,
+oiled with clarified linseed oil and then dried,) is laid on
+the enlarged photograph, and the outline gone over with a
+soft lead pencil. The tracing paper is then turned and its
+back is rubbed all over with charcoal, when it is laid charcoal
+side down on the mounted crayon paper, and carefully
+fastened with four thumb tacks. The lines first made are
+then gone over with a sharp pointed lead pencil. When
+the tracing paper is removed a perfect outline in charcoal
+is found to have been made. This should then be gone
+over with the crayon point No. 2. The rest of the portrait
+is sketched in from the original picture.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>
+<h2><a name="THE_METROSCOPE" id="THE_METROSCOPE"></a>THE METROSCOPE</h2>
+
+
+<p>Comprises a series of squares accurately engraved upon
+the finest plate glass by machinery. The two plates of glass
+(of which one form of the instrument consists), are ruled for
+convenience with squares differing in size. These are
+framed and held together by thumb screws, allowing sufficient
+space between them for inserting and securing a picture
+the size of a cabinet photograph. The lines are thus
+brought into such perfect contact with all parts of the photograph
+so that they appear to be drawn on it. One feature
+of this instrument which renders the square system very
+practical, consists of the division and sub-division of the
+squares by dotted lines and dash lines. The eye naturally
+divides a line or space into halves and quarters, and for
+this reason the dash lines have been designated for quartering
+the main lines, and the dotted lines for quartering the
+squares thus formed. This gives sixteen times as many
+squares for use as are drawn upon the photograph.</p>
+
+<p>A method based on the same principle as the metroscope,
+but not requiring the use of that instrument, may be
+pursued, as follows: Fasten the photograph to a board,
+mark the space at the top, bottom and sides into one-quarter<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>
+inch divisions, and drive sharp pointed pins in each of the
+division marks. Taking a spool of white thread run it
+across vertically and horizontally from each pin to the one
+opposite, and you will then have the photograph divided
+into one-quarter inch squares; then, if your enlargement is
+to be six times the size of the photograph, take the mounted
+crayon paper and divide the sides and top and bottom in
+1-1/2 inch squares, run thread across the same as for the
+photograph, and then proceed to draw the outline, first in
+charcoal, and afterwards with the crayon. The spaces
+marked on the crayon paper should in each case, of course,
+be as many times greater than those marked on the photograph
+as the intended enlargement is greater than the photograph.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p>
+<h2><a name="THE_PANTOGRAPH" id="THE_PANTOGRAPH"></a>THE PANTOGRAPH.</h2>
+
+
+<p>This instrument for enlarging or reducing a picture was
+invented about the year 1603. It consists of four metallic
+or wooden bars or rules, which are perforated by a series of
+holes (numbered from 1 to 20), and connected together by
+means of an adjustable thumb screw. The instrument is
+provided with a tracing and a marking point, and a screw
+or point which is forced into the drawing board to hold the
+instrument in position. A good pantograph will cost
+about two dollars; those of a cheaper grade are entirely
+worthless for practical use, while a good one will last a life
+time. A little experience will enable any one to learn the
+use of the numbers.</p>
+
+<p>To employ the instrument select the number on the bars
+corresponding to the number of times the subject is to be
+enlarged, and connect the adjustable ends of the bars so
+that they intersect at this number; secure the pantograph
+to the drawing board at the left hand side; place a piece of
+manilla paper at the other end of the board and secure it
+with thumb tacks, taking care to smooth all the wrinkles
+out. Next adjust the marking point in the centre of the
+paper; and secure the photograph to the board so that its<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>
+centre shall be directly under the tracing point, which
+should always touch it. If it does not do so at first, place
+a little weight on the instrument over this point heavy
+enough to bring it in contact with the photograph. Now
+guide the instrument, by taking hold of the tracing point
+while at the same time you watch the marking point.
+In this manner go over the entire photograph, putting in
+all the details necessary, after which you can transfer this
+outline to the crayon paper by means of the tracing paper
+according to the former method given for transferring an
+outline.</p>
+
+<p>These are all the best methods of producing an outline.
+In each of them you fasten the charcoal lines with the No.
+2 crayon points, and then, having brushed off the charcoal,
+proceed to put in the background for your portrait. This
+you do by any one of the methods given in the following
+pages.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+<h2><a name="FOUR_METHODS_OF_MAKING_THE_BACKGROUND" id="FOUR_METHODS_OF_MAKING_THE_BACKGROUND"></a>FOUR METHODS OF MAKING THE BACKGROUND.</h2>
+
+
+<p>The background can be made first, with the crayon sauce
+and the use of the large gray stump and rubber eraser;
+second, with the cotton and rubber, by using the cotton
+in applying the crayon sauce to put in the dark places in
+the background, and then finishing with the rubber; third,
+by the use of the line effect; and fourth, by the stipple
+effect, produced by the use of pumice stone. This last I
+consider far superior to any of the others, as it changes the
+appearance of the surface of the paper entirely, and produces
+an effect altogether different from that ordinarily shown in a
+background. It is also free from the mussy, dirty appearance
+which is produced by the use of the cotton and crayon
+sauce alone. I have been repeatedly asked by both amateurs
+and professionals what kind of paper I use in free-hand
+crayons. The inquiry arose from the fact that treating
+the paper by the fourth method changes the appearance
+of the surface of the paper and also its color. I have
+never before, however, given to the public, nor even to my
+pupils, the secret of this process. When the pupil has mastered
+it so as to once produce the satisfactory effect of<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>
+which it is capable, he will find that it has all the advantages
+I claim for it and is a secret well worth knowing, in
+fact, what would be termed one of the tricks of the profession,
+and a very valuable one. I must confess, however,
+that I discovered it by an accident. I had been experimenting
+for years in making backgrounds in order to produce
+an effect that was entirely satisfactory to me, and had
+failed to reach just what I wanted. One day, however, I
+was at work on a portrait that I was very particular with,
+but the background of which proved quite unsatisfactory to
+me. In despair I threw on a handful of pumice stone, intending
+to entirely remove the background by its aid, when,
+to my surprise and delight, I found I was producing the
+very effect that I had been seeking for years, namely, one
+rendering the background of a different color from the face
+and giving it a clear, transparent appearance, so that the
+eye seemed to penetrate it, quite different from the opaque,
+almost dirty backgrounds, resulting from the use of other
+methods.</p>
+
+<p>I will treat each of these methods in separate chapters
+further on.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span></p>
+<h2><a name="FREE-HAND_CRAYONS_AND_THOSE_MADE_FROM" id="FREE-HAND_CRAYONS_AND_THOSE_MADE_FROM"></a>FREE-HAND CRAYONS AND THOSE MADE FROM<br />
+PHOTOGRAPHIC ENLARGEMENTS.</h2>
+
+
+<p>The principal difference between the appearance of free-hand
+crayons and those that are made over a photographic
+enlargement, is that in the former the shadows are lighter
+and more transparent. In the matter of feeling, however,
+the free-hand crayon is much more satisfactory to the artist
+for he knows it is all his own work, and that he has not
+depended on the photographic enlargement to help him
+make the portrait.</p>
+
+<p>After the outline has been drawn, in making a free-hand
+crayon, the portrait is still not yet in the same state of advancement
+as a silver, platinum or bromide enlargement;
+for the reason that the latter not only has the outline, but
+also the faint impression in light and shade of the rest of
+the portrait. I will, therefore, in the next chapter, give instructions
+for filling in the free-hand crayon up to such a
+degree of light and shade as shall put it in the same condition
+as the enlargement. From that point on the same
+directions (to be subsequently given) for finishing the
+portrait will apply equally to both the free-hand crayons
+and the enlargements, except that the bromide is understood
+to require special treatment.<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></p>
+
+<p>The <a href="#frontispiece">frontispiece</a> was made from a free-hand crayon
+which was executed on Steinbach crayon paper with a
+magic lantern outline. This shows the stipple effect in the
+face and drapery, and a broken line effect in the background.
+The student will notice the difference between
+this illustration and that facing page <a href="#bromide">81</a>, which was made
+from a bromide crayon. In the bromide crayon the shadows
+are dark and strong, while in this they are lighter and
+more transparent.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
+<h2><a name="FILLING_IN_THE_FREE-HAND_CRAYON" id="FILLING_IN_THE_FREE-HAND_CRAYON"></a>FILLING IN THE FREE-HAND CRAYON.</h2>
+
+
+<p>Having your crayon outline already made on the
+mounted strainer, lay the latter down on the table face up,
+and proceed to put in a pumice stone background with the
+crayon sauce according to instructions hereafter given on
+page <a href="#Page_70">70</a> for producing that kind of background, making sure
+that you go entirely over the outline. Then place the
+strainer on the easel, and after putting in the cloud effect
+take the chamois block in your left hand, and, with a tortillon
+stump in your right, put in the shadows in a strong,
+clear and decided manner. Commencing on the hair, put
+in the broader shadows first, working the stump in the same
+direction that the lines of the hair go, and endeavor to give
+the soft flow that the hair should have, avoiding making
+lines or any attempt to make individual hairs. The eyebrows
+should then be put in in the same way as the hair,
+care being taken to preserve the form; then the eyes, beginning
+with the upper lids, putting in the lines between
+the eye and the lid, and also the second line forming the
+lid. Do not line in the lower lid between the eye and the
+lid, but put in the under line of the lower lid. Next form
+the pupil, placing it in the centre of the iris, making it<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+very dark; then the iris, noticing in particular that the
+upper lid throws a shadow on the top of the iris; then the
+shading of the nose and nostrils and shadows under the
+nose. The mouth is the next important feature, and, as
+there are no decided lines in it, you must put in none, but
+have the degrees of light and shade form the mouth. Begin
+with the corners, and notice carefully that here lies nearly
+the whole expression of the lower part of the face; next
+treat the central point of the lips and complete the mouth;
+then make the shadows around the mouth and chin, after
+which, put in the ears, and then model up the face, making
+all the shadows broad and decided, leaving the details for
+the finishing touches, but being careful in the modeling to
+retain all of the values. Next put in the clothes with the
+large stump, sweeping it gently across the lights in different
+directions, allowing the lines to cross each other occasionally.
+Carefully preserve the form in this, giving the
+proper shape to the lapels of the coat or folds in the dress,
+and to the arms. Avoid detail and do not carry the clothes
+as far down as you want them to show in the finished picture.
+Lace work should not have too much detail, but be
+made somewhat indistinct; only show a few of the forms
+out sharp and defined, giving the pattern.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+<h2><a name="LINE_EFFECT" id="LINE_EFFECT"></a>LINE EFFECT.</h2>
+
+
+<p>This can be produced in crayon portraits made over a
+photographic enlargement, or in free-hand crayons after
+the filling in just described has been done. 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 represent
+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, as that is the
+way the grain of the board would be. If we should take
+the same board and bend it in the form of a circle, we
+would in order to represent the board in that position,
+draw lines running in a circle to correspond with the grain
+and position of the board. The idea to be impressed is,
+that when we want to represent an object with crayon and
+that object is flat, we draw straight lines to represent its
+surface; and when the object is round or partly so, we
+draw curved lines, conforming them to the surface of the object.<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>
+Light and shade in nature have each their different
+qualities. Light expresses form while shade obscures it;
+consequently, in the light places of an object we will see its
+grain or texture, and that grain or texture will gradually
+become obscured as it enters the shadow until it is entirely
+lost in the deepest shadows. This grain will not show in
+nature as decided where the strongest lights are as it will
+in the half shadows; and, therefore, in the crayon representation
+the grain effect should show more decided in the
+half shadows. If your crayon is not true in this respect, it
+will appear coarse and fail to please as a work of art on
+account of its falsity to nature. The line effect is produced
+throughout the whole picture, in the background, face and
+dress.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+<h2><a name="STIPPLE_EFFECT" id="STIPPLE_EFFECT"></a>STIPPLE EFFECT</h2>
+
+<div class="blockquot"><p><i>On a photographic enlargement or a free-hand crayon after
+the outline and masses of light and shade have been
+made with the tortillon stump, as explained
+on page <a href="#Page_55">55</a>.</i></p></div>
+
+<p class="figcenter" style="width: 400px;">
+<a name="lines_stipple" id="lines_stipple"></a>
+<img src="images/image060.png" width="400" height="365" alt="LINES TO PRODUCE THE STIPPLE EFFECT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="LINES TO PRODUCE THE STIPPLE EFFECT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">LINES TO PRODUCE THE STIPPLE EFFECT.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>When putting in a background with the pumice stone as
+described in the fourth method on page <a href="#Page_70">70</a>, treat the whole
+surface of the paper with pumice stone in order to raise the
+grain of the paper, but go over the face lightly. Then
+place the strainer on which the portrait is mounted on the
+easel, and put in the shadows with the tortillon stump, producing
+the lights with the eraser; finish with the No. 0
+crayon. But instead of producing a diamond effect, as you
+did with the lines, you now want to have a stipple effect,
+which is that of small black and white spots; the paper
+producing the white spots, and the crayon the black ones.
+To produce this make the lines in the shadows and half-shadows,
+but not in the light places, in the manner shown
+in the illustration on the following <a href="#lines_stipple">page</a>; instead of
+crossing them to form diamonds, using short lines and
+varying their direction and intersection with reference to
+the ultimate effect; then rub them with the end of the
+finger. In finishing, gradually divide up all the small light<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>
+parts with the pencil and the dark with the eraser: if it is
+necessary at any time to rub the crayon, use the end of the
+finger instead of the cotton. Be careful not to get too much
+crayon on the paper, that is, you must not "force up" or be
+compelled to make the shadows too dark by the use of the
+crayon; they should be made as dark as necessary with the
+stump before finishing. Should you find in finishing that
+they are not dark enough, use the stump to make them
+darker, as the pencil is only intended to give the stipple
+effect, and should be used in a very light and delicate way.
+Continue the process of finishing according to the directions
+hereafter given for bromide enlargements. The foregoing
+illustration is the first or ground work for the stipple effect<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>
+produced by the aid of the fingers. To obtain this effect
+without rubbing with the fingers, make small black dots,
+instead of the lines shown above, until the desired effect is
+produced. The latter method results in a coarser stipple
+effect, but it requires a much longer time and is more difficult
+than the former.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
+<h2><a name="BACKGROUNDS_GENERAL_PRINCIPLES" id="BACKGROUNDS_GENERAL_PRINCIPLES"></a>BACKGROUNDS&mdash;GENERAL PRINCIPLES.</h2>
+
+
+<p>Always commence the portrait by putting in the background.
+Among the four different methods which I have
+given, the student can make his own selection. For myself,
+I prefer the last two mentioned.</p>
+
+<p>There can be no definite rule given for the lights and
+shadows in the backgrounds, as every portrait will need a
+characteristic background adapted to the subject. There
+should always be a nice disposition of light and shade, the
+light coming against the dark side of the face and the dark
+against the light side, and generally a cast shadow. What
+this is may be learned by setting a cast (or any other object)
+near the wall, letting the light strike it at an angle of
+90 degrees, and noticing the size and position of the shadow
+thrown on the wall. The cast shadow in your background
+must not be too near the head, as simplicity should be one
+of the principles of the background, and this can only be
+attained by breadth of light and shade. The background
+is of secondary importance, and should not intrude itself on
+the portrait in its effect of lines or light and shade. Backgrounds
+for half or full length figures need especial study
+in their effect of lines, and one who intends to succeed in
+making them properly should study linear composition in<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>
+Burnet's essay on Composition,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> especially the following
+passages. "Composition is the art of arranging figures
+or objects so as to adapt them to any particular subject.
+In composition four requisites are necessary&mdash;that the story
+be well told, that it possess a good general form, that it be
+so arranged as to be capable of receiving a proper effect of
+light and shade, and that it be susceptible of an agreeable
+disposition of color. The form of a composition is best
+suggested by the subject or design, as the fitness of the
+adaptation ought to appear to emanate from the circumstances
+themselves; hence the variety of compositions.</p>
+
+<p>"To secure a good general form in composition, it is necessary
+that it should be as simple as possible. Whether
+this is to be produced by a breadth of light and shade,
+which is often the case with Rembrandt, even on a most
+complicated outline, or by the simple arrangement of color,
+as we often find in Titian, or by the construction of the
+group, evident in many of Raphael's works, must depend
+upon the taste of the artist. It is sufficient to direct the
+younger students to this particular, their minds being generally
+carried away by notions of variety and contrasts.</p>
+
+<p>"In giving a few examples of composition, I have confined
+myself to the four simple and principal forms, not
+only from their being most palpable, but also from their
+possessing a decided character, which is at all times desirable.<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>
+To those who imagine that such rules tend to fetter
+genius, I shall merely quote Sir Joshua Reynolds, whose
+works, if properly understood, render all other writings on
+the subject of painting superfluous: 'It must of necessity
+be that even works of genius, like every other effect, as
+they must have their causes, must likewise have their rules.
+It cannot be by chance that excellencies are produced with
+any constancy or any certainty, for this is not the nature of
+chance; but the rules by which men of extraordinary
+points, and such as are called men of genius, work, are
+either such as they discover by their own peculiar observations,
+or are of such nice texture as not easily to admit being
+expressed in words; especially as artists are not very
+frequently skillful in that mode of communicating ideas.
+Unsubstantial, however, as these rules may seem, and difficult
+as it may be to convey them in writing, they are still
+seen and felt in the mind of the artist, and he works from
+them with as much certainty as if they were embodied, as
+I may say, upon paper. It is true these refined principles
+cannot be always palpable, like the more gross rules of art,
+yet it does not follow but that the mind may be put in
+such a train that it shall perceive, by a kind of scientific
+sense, that propriety which words, particularly words
+of unpractised writers such as we are, can but very feebly
+suggest.' (Sixth Discourse)."</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Essays on Art, by John Burnet, New York, E. L. Wilson.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+<h2><a name="FIRST_METHOD_OF_MAKING_THE_BACKGROUND_STUMP" id="FIRST_METHOD_OF_MAKING_THE_BACKGROUND_STUMP"></a>FIRST METHOD OF MAKING THE BACKGROUND&mdash;STUMP EFFECT.</h2>
+
+
+<p>To produce the stump effect, rub the chamois block in
+the box of crayon sauce, and then with the large grey
+paper stump commence by putting in the darkest parts and
+the cast shadow. Use the broad end of the stump, moving
+it over the surface of the paper with an even and uniform
+pressure, so that you will not make any dark spots. Make
+broad lines and have them cross each other so as to form
+diamond shaped spaces, using considerable care and a very
+light touch in the lighter places. Finish with the large
+rubber eraser, cutting it so that it will make white lines
+about the same width as the black lines made with the
+stump. Have these light lines run into the dark ones in
+some places, and use the rubber so as to produce a dashing
+effect.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p>
+<h2><a name="SECOND_METHOD_OF_MAKING_THE_BACKGROUND" id="SECOND_METHOD_OF_MAKING_THE_BACKGROUND"></a>SECOND METHOD OF MAKING THE BACKGROUND.</h2>
+
+
+<p>Take a handful of cotton batting, rub it in the box of
+crayon sauce, and then on a piece of paper before applying
+it to the crayon paper to make the background, being careful
+to avoid rubbing harder in some places than others, as
+dark spots are likely to be caused in that way. Commence
+by rubbing in close to the face and work out towards the
+edge of the paper. Let the darkest part be closest to the
+face, shading out in the form of a circle about six or eight
+inches from the face, according to the subject, the upper
+line of the arc coming a little above the head. Then
+make the cast shadow and finish with the large rubber
+eraser, putting the lights, or cloud effect, as it is called, in
+the background. When doing this, place the strainer high
+enough on the easel to bring the centre of the picture on a
+level with your eyes, then standing in front of it and about
+six feet off, decide upon your plan of light and shade.
+After you have put in the first of the lights, step back to
+the former position, and see if it gives the proper effect.
+Continue this method of working until the background is
+entirely completed.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></p>
+<h2><a name="THIRD_METHOD_OF_MAKING_THE_BACKGROUND_LINE_EFFECT" id="THIRD_METHOD_OF_MAKING_THE_BACKGROUND_LINE_EFFECT"></a>THIRD METHOD OF MAKING THE BACKGROUND&mdash;LINE EFFECT.</h2>
+
+
+<p>With the cotton and crayon sauce as in the preceding
+method, put in the dark places and cast shadow, but not
+as dark as you want them when finished; then with the
+crayon point No. 2 put in three sets of lines thus:&mdash;</p>
+
+<p class="figcenter" style="width: 600px;">
+<a name="bg_line_effect" id="bg_line_effect"></a>
+<img src="images/image067.png" width="600" height="510" alt="BACKGROUND. LINE EFFECT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="BACKGROUND. LINE EFFECT.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">BACKGROUND. LINE EFFECT.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>Do not carry out the lines as far as the background will extend<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>
+when finished. The lines should be one-quarter of an
+inch apart in life-size portraits, and a little closer in smaller
+sizes. As a rule the lines are a little further apart in the
+background than in the face. These lines need not be
+horizontal, crossed by oblique ones at obtuse angles, but
+they can be curved lines, if desired, provided they cross
+each other so as to leave diamond shaped spaces. After the
+lines are in rub a piece of clean cotton over them all, using
+pressure enough to subdue them to the degree of indistinctness
+desired; then finish with the large eraser and crayon
+point No. 2, putting in the cloud effect. Such lines as
+show too prominently you subdue with the nigrivorine
+eraser. If there are any light places, make them dark
+with the crayon.</p>
+
+<p>The background should be very indistinct on the edges,
+and be vignetted in the shape of an oblong, having some
+very light clouds above and on either side of the head.
+Let there be a nice contrast between the face and the
+background, having light come against dark and dark
+against light; that is, when one side of the face is
+dark and one side light, have the background light against
+the dark side, and dark against the light side; when light
+and shade are about equal on both sides of the face,
+have the background about the same shade on both sides,
+without too decided a cast shadow. If you have a subject<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>
+that has gray hair, have the background darker than it
+would be otherwise. The background should never be
+darker at any place than the shadows in the face, and close
+to the face it must be a shade between the light and half
+shadows. Never resort to the practice of leaving the background
+white, as this will only give a hard, stiff appearance.
+Clean off the outside edges of the background with
+a clean piece of cotton and the pumice stone.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span></p>
+<h2><a name="FOURTH_METHOD_OF_MAKING_THE_BACKGROUND_STIPPLE_EFFECT" id="FOURTH_METHOD_OF_MAKING_THE_BACKGROUND_STIPPLE_EFFECT"></a>FOURTH METHOD OF MAKING THE BACKGROUND&mdash;STIPPLE EFFECT.</h2>
+
+
+<p>Lay a piece of manilla paper on the table about twelve
+inches larger on each edge than your strainer, placing the
+strainer on it face up; rub a handful of cotton batting first
+in the crayon sauce and then on the manilla paper to remove
+any foreign substance. Then apply the cotton with
+a circular motion to the crayon paper to make the background
+desired. Next sprinkle the pulverized pumice
+stone over the entire background, and go over this with
+the fingers in a circular movement, using them flat from
+the second joint to the ends; then lift the strainer up, and,
+resting it on the edge, jar off all the pumice stone, and
+when this is done, lay it down again and rub it off with a
+clean piece of cotton. Now rub the fingers in the crayon
+sauce, keeping them flat so that it will adhere evenly to
+them, and go over the background lightly as when rubbing
+in the pumice stone and you will produce a nice stipple
+effect. Finally, place the strainer on the easel, and finish
+according to the directions given for finishing crayons made
+on bromide enlargements.</p>
+
+<p>Of course it will need considerable experience before you<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>
+can succeed in doing this perfectly, but patience and perseverance
+will ultimately accomplish the desired end.
+There are two matters of importance to be borne in mind
+in making these backgrounds&mdash;first, do not have any small,
+hard pieces of crayon on the cotton when you rub it on the
+paper, and second, use the fingers in as flat a position as
+possible, for if you do not have them flat down on the
+paper you are likely to make dark spots in the background.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p>
+<h2><a name="FACE_LINE_EFFECT" id="FACE_LINE_EFFECT"></a>FACE&mdash;LINE EFFECT.</h2>
+
+
+<p class="figcenter" style="width: 500px;">
+<a name="line_face" id="line_face"></a>
+<img src="images/image072.png" width="500" height="413" alt="LINE EFFECT FOR FACE.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="LINE EFFECT FOR FACE.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">LINE EFFECT FOR FACE.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>Commence on the hair with the crayon point No. 2, and
+put in all the shadows and half-shadows, carefully preserving
+the lines of direction, but avoid working over the
+lights more than necessary; then with the crayon point
+No. 1 strengthen all the shadows about the eyebrows, the
+eyes, the mouth, the chin and the ears. Next put the lines
+in the face. The following illustration shows the lines<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>
+before they are rubbed. It will be well to remember that
+only two sets of lines are used in the face, as shown in the
+illustration, and the same number in the dress, while there
+are three sets required in the background. The lines in
+the face should be a little closer than those in the background,
+while those in the dress are about the same as
+those in the background.</p>
+
+<p>In the effect of the lines in the face lie the chief merit
+and beauty of this method of crayon work. When properly
+drawn, the lines represent and give the grain of the
+flesh in a very beautiful broken effect. They are drawn so
+as to leave spaces shaped like diamonds, but in the finishing
+should be so treated as to lose their regularity, and to
+have the effect of "broken diamonds." If you will examine
+the back of the wrist joint when your hand is bent
+slightly backward, you will see more clearly what is meant
+by the term "broken diamonds" in the slight ridges which
+show the grain of the flesh. Begin with the forehead,
+using the crayon point No. 1, and put in one set of lines
+straight across, but curving downwards as the forehead
+commences to round off towards the hair at the sides; then
+one more set of lines in the direction that will produce the
+diamond spaces, continuing these two sets of lines throughout
+the face. These lines intersecting at the proper angles
+will indicate the grain of the flesh, if the line of direction<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>
+be carefully followed. Remembering that the face is not
+a flat surface, make the lines darker in the shadows and
+lighter as they approach the lights. The high lights on the
+forehead, the nose, the highest point of the chin, and around
+the mouth, should, however, have no lines over them.</p>
+
+<p>Having put in these lines take a small handful of cotton,
+and rub the hair and face over both the high lights and
+shadows, the motion following the line of direction; that
+is, being straight across the forehead, curving towards the
+hair at the sides, and circular on the cheeks. Care should
+be exercised not to rub too hard, it being a common fault
+of the beginner to rub the paper too much, and produce
+a dirty effect. The lines should be merely rubbed until
+they are somewhat blurred and indistinct. Remember that
+the crayon portrait is made on the surface of the paper, and
+not rubbed into it. After it has thus been treated with the
+cotton, go over the shadows with the crayon point No. 1,
+and rub again with the cotton.</p>
+
+<p>The face of the crayon will now be about three shades
+darker in the lights than it should be when finished, and
+not quite dark enough in the shadows. Finish it with the
+No. 0 crayon and nigrivorine eraser, using the latter wherever
+a lighter effect is required; also break up the regularity
+of the diamond spaces, and whenever a line shows too
+prominently subdue it with the eraser.<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p>
+
+<p>If you would succeed in making good crayon portraits,
+it will be necessary for you to cultivate a light touch with
+the crayon in finishing.</p>
+
+<p>The eraser is one of the principal instruments employed in
+making crayon portraits, and is used the same as if it were
+a crayon pencil, that is, on that principle, the difference being
+that you make white lines with it instead of black ones.
+Keep the eraser to a sharp point in the following manner:
+take a piece of emery paper about three inches square, and
+place it in the left hand between the index and second fingers,
+holding the fingers about half an inch apart, and
+bending the paper to fit between them; then rub the eraser
+in the crease thus formed, holding it at an acute angle.
+Sometimes it is necessary to sharpen the eraser with a
+knife or a pair of scissors before rubbing it on the emery
+paper. In working with the eraser on the crayon paper
+do not rub hard enough to remove all the crayon from the
+surface of the paper, except in producing the high lights
+and the white of drapery. Notice in particular in finishing
+the hair that where it touches the forehead there are no
+lines, as the light and shade should blend together so nicely
+as to leave no decided line between them.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+<h2><a name="DRESS_LINE_EFFECT" id="DRESS_LINE_EFFECT"></a>DRESS&mdash;LINE EFFECT.</h2>
+
+
+<p class="figcenter" style="width: 500px;">
+<a name="line_dress" id="line_dress"></a>
+<img src="images/image076.png" width="500" height="341" alt="LINE EFFECT FOR DRESS.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." title="LINE EFFECT FOR DRESS.
+
+From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co." />
+<span class="caption">LINE EFFECT FOR DRESS.
+
+<br /><small><i>From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &amp; Co.</i></small></span>
+</p>
+
+<p>The above illustration represents the effect of the lines
+in the dress. In putting them in let every fold, sleeve
+and lapel have lines of its own, that is, lines differing in
+direction so as to discriminate it from the other parts of
+the clothing. These distinctive lines will lose themselves
+in the wrinkles, in shadows, and in the next fold, where
+the lines will have a different direction. The illustration<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>
+is very crude, as it shows the lines before they are rubbed
+with cotton; after that process they have quite a different
+appearance. In men's clothing the lines may be drawn
+a little farther apart than in the treatment of the
+finer texture of ladies' garments. After you have put in
+the lines with the crayon point No. 2, go over them with a
+piece of cotton previously rubbed in the crayon sauce, and
+then complete this part of the work by the use of a dull
+eraser for the smaller lights, and the chamois for the broad
+lights.</p>
+
+<p>The crayon is now in good condition for finishing,
+which you will proceed to do by the use of No. 0 Conte
+crayon and the nigrivorine eraser, softening the lights with
+the former and the shadows with the latter, until you have
+the whole portrait subdued, and no decided lines of light
+and shade. Of course throughout these processes you
+must pay close attention to all the characteristic points
+in the likeness, so that the crayon will be a true and life-like
+reproduction. Do not sit too close to the crayon in
+finishing; if you do, you will be disappointed when you
+come to look at it from a slight distance, and will not find
+at all that enchantment which distance is said to lend to
+the view, as the crayon will disclose a spotty effect, and too
+great a contrast between the lights and shadows.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p>
+<h2><a name="BROMIDE_CRAYONS" id="BROMIDE_CRAYONS"></a>BROMIDE CRAYONS.</h2>
+
+
+<p>In the bromide enlargement, while the paper has to undergo
+all the different manipulations of development, fixing
+and washing, that the platinum and silver enlargements do,
+yet the gelatin is not removed, and, when dry, remains as a
+strong sizing to the surface of the paper&mdash;in fact, so strong,
+that in some of the different kinds of bromide paper the
+surface is very nearly as hard as glass, and, therefore, the
+crayon cannot be used upon it with good results until it has
+received a special treatment, as the crayon would only make
+a black scratchy mark.</p>
+
+<p>It has been said that the bromide paper and enlargement
+were entirely different from the platinum or silver enlargement
+and the crayon paper. While there is not as much
+difference between the bromide and other enlargements as
+there is between the former and the crayon paper, there
+should be this difference: the silver or platinum enlargement
+should only be printed strong enough to give the
+form and the larger details in the negative, while the
+bromide enlargement must be as nearly a perfect photograph
+as can be produced from the negative.</p>
+<p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p>
+
+<p class="figcenter" style="width: 494px;">
+<a name="bromide" id="bromide"></a>
+<img src="images/image079.jpg" width="494" height="600" alt="FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE&mdash;STIPPLE EFFECT
+THROUGHOUT. BY J. A. BARHYDT." title="FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE&mdash;STIPPLE EFFECT
+THROUGHOUT. BY J. A. BARHYDT." />
+<span class="caption">FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE&mdash;STIPPLE EFFECT
+THROUGHOUT. BY J. A. BARHYDT.</span>
+</p>
+
+<p>From the fact that, on account of the difference in the<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span>
+surface of the paper, there cannot be as much crayon put
+on the bromide enlargement as on the other kinds of paper,
+and that, therefore, it cannot be strengthened to the same
+degree in the shadows without spoiling the nice transparent
+effect that a bromide should have there, it follows that the
+best bromide crayons are those on which the least crayon is
+used to produce the desired effect. The bromide paper, on
+account of the gelatin surface, will not take the crayon
+from the stump as readily as the other kinds of paper; but
+after the surface has been treated with the pumice stone
+this objection is removed, and the paper can be worked
+on with the stump readily. I can say from my own experience,
+that for producing a crayon over a photographic
+enlargement with the stipple effect, it has no equal in the
+beauty of finish and rapidity of execution.</p>
+
+<p>The illustration facing this <a href="#bromide">page</a> was made from a crayon
+executed over a bromide enlargement from the original
+negative. Better results can always be reached in a bromide
+enlargement when it is thus made from the original
+negative. The student will notice in particular the stipple
+effect in the reproduction.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span></p>
+<h2><a name="FINISHING_BROMIDE_ENLARGEMENTS" id="FINISHING_BROMIDE_ENLARGEMENTS"></a>FINISHING BROMIDE ENLARGEMENTS.</h2>
+
+
+<p>Examine the enlargement mounted on the strainer, looking
+at it from the side, to learn if there is any starch
+on the surface of the paper before commencing work on
+it. If there is any, carefully wash it off with a sponge and
+some clean water, and then set the enlargement aside until
+it has thoroughly dried. Then lay it down on the table
+with a piece of manilla paper under the strainer about 12
+inches longer on each edge than the latter; take a handful
+of cotton, first rubbing it thoroughly in the crayon sauce,
+then on the manilla paper, and finally going over the surface
+of the enlargement with it in a circular motion. Then
+sprinkle pumice stone over the portrait, and using the ends
+of the fingers flat, rub it over the entire surface of the
+paper. This treatment cuts through the gelatin surface
+and prepares it for the stipple effect. Now stand the
+strainer on its edge and jar the pumice stone off, after
+which lay it down on the table, and with a piece of clean
+cotton lightly brush off the surface; then, having rubbed
+the finger ends in the crayon sauce, go over the entire surface
+of the enlargement, holding them flat, and you will
+produce a fine stipple effect.</p>
+
+<p>If the shadows need to be darker, use a little more<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>
+crayon on the fingers; also put the cast shadow in the
+background, applying the crayon with the fingers.</p>
+
+<p>Before proceeding further it will be well to note that the
+crayon is entirely on the gelatin surface, and that the photographic
+image is on this surface also, and not on the
+paper itself; therefore, under the image and the gelatin
+you have the pure white paper. I call attention to this
+in order that you may work with a better comprehension
+of the materials you are using.</p>
+
+<p>You now have four surfaces. First, the muslin cloth
+of the strainer; second, the starch; third, the white paper;
+fourth, the gelatin.</p>
+
+<p>Knowing that the gelatin has a hard surface, you are
+prepared to learn that the crayon will come off from the
+bromide much more easily than from the other kinds of
+paper. These had but three surfaces, while the bromide
+has a fourth&mdash;a very hard one&mdash;between the crayon and the
+paper, and on account of its hardness it will need different
+treatment in its manipulation. Therefore you use the fingers
+in applying the crayon sauce, and, when it is necessary
+to make a place light, you do so with the cotton, chamois
+or eraser. Should you find it necessary to make a place
+white where it is dark, you can remove the photograph
+entirely, as this is on the gelatin, scraping it off down to
+the white paper with a sharp knife.<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p>
+
+<p>Resuming the process of finishing, place the enlargement
+on the easel and put in the cloud effect with the large eraser,
+then lay it on the table again, and clean it off about
+four inches from the edge all around with pumice
+stone and a fresh piece of cotton where you have rubbed
+with the eraser, and blend the background into this four
+inch space. Return the enlargement to the easel again, and
+with the broad eraser clean up the lights throughout, and
+with the cotton and pumice stone blend them into the shadows;
+then with the peerless stump, crayon sauce and fingers
+strengthen the larger shadows, using the nigrivorine eraser
+when necessary to clean up the lights, and the tortillon
+stump for the work in the smaller shadows, if it is required
+to make them darker. Now with the No. 0 crayon finish
+the face by completing the stipple effect in the patches of
+light and shade. You will have a good guide in the background
+for finishing and giving the stipple effect, as there
+you will have this stipple effect quite perfect, especially in
+the light places. This finishing with the No. 0 crayon is
+the nicest part of the work, and when doing it you must
+keep in mind that you are putting in the stipple effect, and
+that alone; that is, the portrait at this stage is supposed to
+be very nearly right in light and shade and expression, and
+it should not be necessary to strengthen it in the shadows
+by using the No. 0 crayon. You are to cut up or<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>
+divide the portrait into small black and white spots, but do
+not take out white spots with the No. 0 crayon that are
+larger than the white spots desired in the stipple effect;
+these light places must be cut into smaller light spots. If
+you should take out these white spots (and this is an error
+you must be very careful to avoid), you would produce an
+effect of large dark and white spots that would be entirely
+wrong, the real process being to divide large white and
+dark spots into smaller ones of the same color.</p>
+
+<p>This stipple effect should be worked all over the face
+with the exception of the highest lights, and even these will
+very often need to be worked over except at the single
+points of the very highest lights. In this work you now
+have an opportunity to demonstrate the theory of contrast.
+Sometimes the enlargement is too dark in the shadows, and
+although you require to have them lighter you have already
+removed all the crayon from the surface, and it still
+remains too dark. The crayon pencil is many shades
+darker and blacker than the shadows, yet you can by its
+use make them lighter by putting in the stipple effect, as
+the dark touches of the pencil in their contrast with the
+shadow color under them cause them to appear lighter. This
+is a very essential principle to remember in crayon portrait
+work: that the effect of dark against light is to make the
+light appear lighter, and the dark darker. After the face<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span>
+and hair are completed as above, then finish the clothes with
+the peerless stump, eraser and fingers. If there are any
+very dark strong shadows&mdash;for instance, under the collar
+or around the neck&mdash;put them in with the velours crayon
+and subdue them with the fingers. When at work on the
+clothes at the bottom of the portrait do not finish straight
+across, but in a circular way. Next taking up the background
+you will discover that there are some large patches
+of light and shade that must be changed and made the required
+color to correspond with the adjoining surface; lean
+back as far as possible in your chair, and join these places
+together with the pencil and eraser; then in the same
+position finish the face by removing any light or dark places,
+strengthening the eyes, nose, mouth, and any point of the
+likeness requiring a final touch. Remove with the point
+of your knife any small black spots such as sometimes
+show in the photograph, and then with a fresh piece of
+cotton and pumice stone clean off the edges of the crayon
+all around.</p>
+
+<p>Before regarding the picture as quite complete, examine
+it by holding it at right angles to the light, to see if there
+are not some marks of the crayon pencil that show too
+prominently. These can be subdued with the ends of the
+fingers. Sometimes in finishing with the No. 0 crayon the
+paper will seem to be gritty so that you can hardly work<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>
+on it. The difficulty is that some of the pumice stone has
+adhered to the surface of the paper. This can be disposed
+of by rubbing it with the fingers. It should be remembered
+that the pumice stone must be entirely removed from
+the whole surface of the paper, as otherwise it will settle in
+the crayon, and give a dirty gray effect. When, as sometimes
+happens in commencing the portrait, dark or white
+spots or streaks show themselves, do not pay any attention
+to them until you have entirely finished the crayon, then
+if they are dark, make them the proper shade with the
+eraser, and if light, with the crayon.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
+<h2><a name="MONOCHROMESB" id="MONOCHROMESB"></a>MONOCHROMES.<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a></h2>
+
+
+<p>These are portraits in one color on porcelain, glass or
+any hard material that has first been coated with gelatin
+and then photographed on. First treat the whole surface
+with pumice stone as directed for the bromide paper,
+afterwards go over it with the crayon and cotton. Then put
+in the cloud effect in the background, and clean off the lights
+in the face, hair, and clothes with the eraser; next put in
+the half-shadows with the peerless stump; then with a solution
+of India ink darken the stronger shadows throughout
+the portrait&mdash;in the eyes, nose, mouth and eyebrows,
+and finally in the hair. Finish the face with the No. 0
+crayon and the 4 H. Faber's lead pencil according to directions
+given for finishing bromide enlargements. The Faber
+pencil is used almost exclusively throughout the face.
+Very nice effects of strong light can be made on porcelain
+by scraping through the gelatin surface with the knife.
+This process is specially adapted to making pictures of
+smaller size, say 10×12, or 11×14 inches, as it produces
+a very soft and delicate effect.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> For photographic process, see the American Annual of Photography and Photographic
+Times Almanac, 1888.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p>
+<h2><a name="VALUES" id="VALUES"></a>VALUES.</h2>
+
+
+<p>The matter of values enters into the essential quality of
+every work of art, and especially of a portrait. It is the
+truth of their rendering that will give a faithful likeness.
+By the term values is meant the relations of light and
+shade to each other. This subject has been so admirably
+treated by John Burnet in his essay entitled "Practical
+Hints on Light and Shade,"<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> that I give his observations
+on this point.</p>
+
+<p>"Before proceeding to investigate light and shade in
+their various intricate relations, it may be proper to notice
+a few of the more palpable and self-evident combinations;
+and for the better comprehending of which I shall divide
+them into five parts, viz.: Light, half-light, middle tint,
+half-dark and dark. When a picture is chiefly composed
+of light and half-light, the darks will have more force and
+point, but without the help of strong color to give it solidity
+it will be apt to look feeble, and when a picture is composed
+mainly of dark and half-dark the lights will be more
+brilliant; but they will be apt to look spotty for want of
+half-light to spread and connect them, and the piece be in<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span>
+danger of becoming black and heavy. And when a picture
+is composed chiefly of middle tint, the dark and light
+portions have a more equal chance of coming into notice,
+but the general effect is in danger of becoming common
+and insipid. Light and shade are capable of producing
+many results, but the three principal are relief, harmony
+and breadth. By the first the artist is enabled to give his
+work the distinctness and solidity of nature; the second is
+the result of a union and cement of one part with another;
+and the third, a general breadth, is the necessary attendant
+on extent and magnitude. A judicious management of
+these three properties is to be found in the best pictures of
+the Italian, Venetian and Flemish Schools, and ought to
+employ the most attentive examination of the student, for
+by giving too much relief he will produce a dry hard effect,
+by too much softness and blending of the parts, wooliness
+and insipidity, and in a desire to produce breadth of effect
+he may produce flatness."</p>
+
+<p>The student should make a careful study of the values,
+as upon these will depend the entire effect of the portrait
+and its fidelity as a likeness; and the absence of these
+qualities of rendering light and shade are one of the marked
+features of the work of amateurs, as they are apt to make
+their shadows too dark and their lights too light. You
+should compare the portrait with the photograph you are<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span>
+working from, and preserve the same contrasts between the
+lights and shadows in order to produce satisfactory
+results. The best way of examining your work is by
+the use of a mirror. To the student the mirror is his
+best critic. It is before this silent observer that he
+submits his work with the certainty of receiving an
+honest criticism. At every step of your progress look at
+your work in a good mirror, as here it is changed about,
+the left side being the right side, and no error will escape
+detection. Sometimes you will see that what appeared
+true was in reality false, what seemed graceful in contour
+was distorted; here an eye which you thought was looking
+at you quite straight now mocks you from the glass in
+manifest obliquity; the mouth, which you thought had a
+pleasant expression, now looks as disdainful as can be.
+And so all through your work you will be startled; you
+will doubt the mirror. Doubt it not; your work is false.
+If you will be convinced show it to some competent artist,
+and he will confirm the judgment of the impartial mirror.
+Experience will soon teach you to put such reliance on its
+never capricious council that you will follow its suggestions
+implicitly, and, when your work is altered, the result will
+satisfy you invariably, that, as the proverb says of two
+heads, so two images are better than one. When you have
+come to this conclusion there is not a beauty of eighteen<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span>
+who will consult her glass (though it is true for a somewhat
+lighter purpose,) more eagerly, more devoutly, more
+frequently, or finally, we hope, with more triumphant satisfaction
+than will you.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> Essays on Art by John Burnet, New York, Edward L. Wilson.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span></p>
+<h2><a name="STUDIO" id="STUDIO"></a>STUDIO.</h2>
+
+
+<p>The amateur is not to consider the selection of his studio
+or work-room of minor importance; the perspective, coloring,
+and the effect of the portrait will all depend, in a great
+measure, upon the situation and dimensions of the studio.
+It may be said in a general way that the larger the apartment
+the better. To secure the effect which it is essential
+to produce, there should be space enough left behind the
+artist to permit him to step back from six to ten or
+twelve feet to accurately view and see the effect of the portrait.
+I cannot urge too strongly upon the amateur the
+usefulness of frequently viewing his work from a distance.
+I would gladly save him the disappointment and chagrin
+which I have myself experienced, when having neglected
+this precaution, I have quite finished a portrait only to find
+it thoroughly unsatisfactory when looked at from a greater
+distance than that at which I had worked.</p>
+
+<p>You should choose a room with a north light if possible;
+if that is not available then one with a south light, and the
+room should be as near the top of the house as possible.
+Let the light be arranged so as to strike the easel at an
+angle of 90 degrees, and if it is a side light darken the<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
+lower half of the window. Do not have the side walls
+white, they should be a neutral shade; reddish is the best.
+For work with water colors or India ink you need a stand,
+and be sure and set it so that the light will be at your left
+when you work. Keep the studio as free from dust as
+possible, and when you have finished working for the day
+wash your brushes and place the corks in the water color
+bottles, so as to exclude the dust from them. For crayon
+work also set the easel so that the light is at the left hand.</p>
+
+<p>A word in regard to selecting materials. I have already
+spoken in regard to the selection of photographs for
+coloring. As to brushes&mdash;camel's hair will cost only about
+a third as much as sable, and will answer every purpose
+for beginners; the fine sable should be procured after the
+pupil has advanced sufficiently. In choosing a brush for
+water colors, dip it in a cup of water and draw it over the
+edge of the cup; if it has a little spring to it, and comes to
+a point readily without any of the hair straggling, it is all
+right; if not, reject it. Winsor and Newton's Chinese
+White is the best white paint. For mixing the colors
+you can get a slant with eight divisions, or a nest of
+saucers. In selecting glass for mounting pictures choose
+that which is free from blisters.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p>
+<h2><a name="FRAMING" id="FRAMING"></a>FRAMING.</h2>
+
+
+<p>The following directions in regard to framing will, I
+hope, be found advantageous. When framing with a passepartout
+mat, always use</p>
+
+
+<div class="center">
+<table border="0" cellpadding="2" cellspacing="0" summary="framing">
+<tr><td align="center">For</td><td align="right"> a 16×20</td><td align="center"> portrait</td><td align="center"> an</td><td align="right"> 18×22</td><td align="center"> frame,</td></tr>
+<tr><td align="center"> "</td><td align="right">18×22</td><td align="center">"</td><td align="center">"</td><td align="right">20×24</td><td align="center">"</td></tr>
+<tr><td align="center"> "</td><td align="right">20×24</td><td align="center">"</td><td align="center">"</td><td align="right">22×26</td><td align="center">"</td></tr>
+<tr><td align="center"> "</td><td align="right">24×29</td><td align="center">"</td><td align="center">"</td><td align="right">25×30</td><td align="center">"</td></tr>
+</table></div>
+
+<p>I make a life-size portrait 25×30 on a 24×29 strainer.
+The reason for using a larger frame than strainer is this:
+that it invariably happens that the head of the portrait
+will not come in exactly the proper place in the opening of
+the passepartout, and by having the frame two inches
+larger each way you will be able to bring the head wherever
+desired in this opening. When placing the picture in
+the frame, lay the latter face down on a table and put in
+the glass, which should have been perfectly cleaned; lay
+in the passepartout and fasten it with small brads. Then
+lay the crayon down on the table face up and turn the
+frame over on it, and after you have it in the proper
+place, draw the picture and frame partially over the edge
+of the table, and from underneath mark the back of the<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span>
+passepartout where the edges of the picture come; then
+turn the frame and picture over so that it shall be face
+down. Now cut eight strips of old tin-type metal one-quarter
+of an inch wide and three inches long, making
+holes at each end of them for the tacks, and with these
+strips fasten the picture in its place by tacking one end
+of each to the strainer and the other end to the frame.
+Also cut a piece of heavy manilla paper the size of the
+frame, lay it on a board, dampen it with a sponge, apply
+starch paste around each side and the ends for a space of
+six inches, and lay it over the back of the picture and
+frame, pressing it down on the latter; then set it away to
+dry. This will make a neat smooth back which will exclude
+moth and dust from the portrait.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p>
+<h2><a name="PASSEPARTOUT_MOUNTING" id="PASSEPARTOUT_MOUNTING"></a>PASSEPARTOUT MOUNTING.</h2>
+
+
+<p>The following method will be found useful, especially if
+you want to exhibit a crayon without the expense of framing
+it. Lay on the mounting board a piece of heavy
+manilla paper somewhat larger than the picture, then
+put the crayon on this face up, next the passepartout, and
+last the clean glass. Mark the size of this on the paper,
+and then, having removed the glass, crayon and passepartout,
+cut the paper enough larger than the marks to
+allow it to come up one inch all around over the edges of
+the glass; next dampen the paper, and apply the starch
+paste to its edges about six inches all around, then lay the
+crayon, passepartout and glass back where they were on the
+paper, and bring the latter up, lapping it over the face of
+the glass; cut the corners out so as to bring them over
+properly; rub the edges down thoroughly on the glass, and
+with a ruler and knife trim off the paper, allowing one-quarter
+of an inch margin; then set away to dry. This
+will put the crayon in good condition to be exhibited, and
+will thoroughly protect it.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2 class="center sans"><big>Transparent Liquid Water Colors<br />
+for Coloring Photographs.</big></h2>
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span></p>
+<p class="figcenter" style="width: 600px;">
+<img src="images/image101.png" width="600" height="214" alt="" title="" />
+</p>
+
+
+
+<h2><a name="TRANSPARENT_LIQUID_WATER_COLORS" id="TRANSPARENT_LIQUID_WATER_COLORS"></a>TRANSPARENT LIQUID WATER COLORS<br />
+FOR COLORING PHOTOGRAPHS</h2>
+
+
+<p><i>Materials Required in Their Use.</i></p>
+
+<p style="margin-left: 2em;">
+A good photograph, an engraving or photogravure mounted on card-board,<br />
+Camel's hair brushes, Nos. 3 and 5,<br />
+Sheet of blotting-paper,<br />
+Small sponge,<br />
+Clean white cloth,<br />
+Cake of Chinese white, Winsor and Newton's water color,<br />
+A divided slant or nest of small dishes for holding the color when mixed,<br />
+Box transparent liquid water colors,<br />
+<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>Stick of India ink,<br />
+Box pulverized pumice stone,<br />
+Two tumblers for water.<br />
+</p>
+
+<p>It has passed into a proverb that he is a bad workman
+who complains of his tools. It is certain that good ones
+simplify work and give better results. One of the most
+important things for successful art-work is to have at hand
+the proper materials and good instruments. In their selection
+do not follow a penny wise and pound foolish policy, but
+get the best you can; and these you will often find not too
+good.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span></p>
+<h2><a name="THEORY_OF_COLOR" id="THEORY_OF_COLOR"></a>THEORY OF COLOR.</h2>
+
+
+<p>The principles connected with coloring should be understood
+if one desires to produce the most pleasing and harmonious
+effects in painting. The three colors, red, yellow,
+and blue, with the white of the paper, are equal in theory
+to all the requirements of art in its true relation to color.
+Red, yellow and blue are called primary colors; that is, we
+cannot produce these colors from the combination of any
+others. Orange, purple and green are called secondary
+colors, and are produced by the combination of the primary
+colors. By the mixture of red and yellow we obtain
+orange, from red and blue, purple, from yellow and blue,
+green. The tertiary colors&mdash;broken green, gray and
+brown&mdash;are produced by the mixture of the secondary
+colors. From orange and purple we obtain brown, from
+orange and green, broken green, and from purple and
+green, gray. The three primary colors must always be
+present in a picture to produce harmony. Colors are divided
+into what are called warm and cold colors, the yellow
+and red being termed warm, and the blue cold. Yellow
+and red produce light and warmth, and it is impossible to
+produce coolness without the use of blue. In painting we<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span>
+use the three terms, light, shade and color, because they
+best express the qualities of color. Light is expressed by
+yellow, shade by blue, and color by red. While red is
+particularly designated as color, we must not forget the
+claims of yellow and blue, as they, together with red, complete
+the primary scale of colors. It is by placing these
+different colors in juxtaposition that we produce the proper
+qualities existing in each of the other colors. It is impossible
+to produce the effect of warmth by red and yellow unless
+we use the blue in connection with them. It is this
+filling up, or completing the primary scale of colors, that
+gives the term complementary, so often employed in speaking
+of colors. Thus red is said to be complementary to
+green, as green contains the other two colors of the primary
+scale&mdash;blue and yellow. Blue is complementary to orange,
+as orange contains red and yellow. Yellow is complementary
+to purple, as purple contains blue and red. The
+principle of using the complementary color is of the utmost
+importance in painting, or the use of color by any method,
+and it is on this principle that the harmony of color is
+based. When a painting is produced that has the colors
+red, yellow and blue properly balanced, a pleasing and harmonious
+effect is attained; but if these colors are not used
+in their proper relations, there is a discord, and the work
+is not satisfactory. These rules must be borne in mind by<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span>
+every student in coloring, whether he uses oil or water colors.
+One of the most common errors of amateurs is to
+overlook the red in landscape. Thus trees are too green,
+and the grass is insufferably green: the complementary
+color, red, has been left out.</p>
+
+<p>By the following experiment you may prove that when
+you see one color the eye is in a perfect condition to see
+its complementary color. On a piece of white paper, three
+inches wide and five inches long, draw with a lead pencil
+an oblong, half an inch from the top, one inch wide, and
+two and one-half inches long from right to left, and a similar
+oblong one-half an inch below the one already drawn.
+Then draw a six pointed star (or any other not too large
+figure you desire) in the centre of the upper oblong, and
+paint it with vermilion water color. Now look intently
+at the painted star for thirty seconds, and then look at
+the plain oblong below, and you will observe that the latter
+will gradually assume a very beautiful shade of green,
+the exact complementary color of the vermilion, with the
+figure in white upon it&mdash;unless you should happen to be
+color blind. If that is the case, the experiment will demonstrate
+that fact.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span></p>
+<h2><a name="COLORS" id="COLORS"></a>COLORS.</h2>
+
+
+<p>Transparent water colors are put up in boxes containing
+nine colors, and as you reduce them in the proportion of
+one part of color to eight of water, a single box will last
+a long time. They can be bought of almost any dealer
+in artist's materials, and are designated as Florentine,
+Egyptian, Grecian, and by other names. Care should be
+used in procuring those which are pure and fresh. The
+colors are yellow, blue, rose, violet, magenta, flesh, brown,
+gold and black. The labels on the bottles give directions
+for mixing.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="YELLOW" id="YELLOW"></a>YELLOW.</h2>
+
+
+<p>Yellow is one of the primary colors and one of the most
+useful, as it enters into the coloring of almost every picture.
+Transparent yellow is very brilliant, and can be used with
+any other color. Yellow and red make orange, yellow
+and blue make bright green, yellow and black a dull green.
+In landscapes, yellow is used in the middle distance with<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span>
+blue and rose and magenta. In the foreground it is used
+with blue and black for green, and is especially adapted
+for brilliant touches of foliage, grasses, and light places in
+the ground. In portraits a very little can be used in the
+reflected lights on the faces, and, when mixed with brown,
+for light shades of hair and eyebrows; for light dresses,
+used weak, it makes a very nice cream color. It can also
+be used very weak for laces, the strong lights being afterwards
+touched up with Chinese white, but not when the
+picture is to be mounted on glass. This color will ordinarily
+work nicely and give good results wherever its use
+seems appropriate, but care must always be exercised not to
+use it too strong.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="BLUE" id="BLUE"></a>BLUE.</h2>
+
+
+<p>This is another of the primary colors and a very essential
+one, it being the nearest allied to shade, and although
+not shade itself, no shadows can be produced without it.
+We will find it, therefore, mingling with all the shades of
+nature between the lights and shadows. It would be in
+vain for us to introduce all our warm colors, if the cool
+tints that are produced by blue are wanting; for, without<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span>
+that, the work will appear heavy, as it is the contrast between
+blue and the warm colors that produces a balance
+of color. Blue mixed with yellow makes a very brilliant
+green, with gold a duller green, with magenta a
+purple. In landscapes it is used in skies and the middle
+distances, but not in the foreground, unless mixed with
+yellow. Blue can be mixed with rose or magenta for sunset
+skies. When the horizon is represented a streak of
+blue or rose, or of blue and magenta, will give a very
+pleasing effect. In portraits if you have a light background,
+a thin wash of blue can be used over it. The same
+can also be used for blue eyes and for dresses when they
+are light in the picture, also in all the half-shadows of the
+dresses or draperies without regard to what their other
+color may be.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="ROSE" id="ROSE"></a>ROSE.</h2>
+
+
+<p>This is the nearest approach to red that we have in
+these colors, and as it fills out the scale it is an essential
+one. It is, in fact, a very delicate shade of rose. For
+landscape it is used only in the skies, and then only a<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span>
+little near the horizon for sunset effects. For portraits it is
+used in the drapery for making a very light shade of pink,
+and it can be used generally when you want to make a very
+delicate effect. The photographic print on which it is used
+should not be too dark.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="VIOLET" id="VIOLET"></a>VIOLET.</h2>
+
+
+<p>This is a very strong and brilliant color, and therefore
+needs more than usual care in handling. In landscapes it
+is only used in certain skies near the horizon, and but very
+seldom even then. It is more especially designed for portraits,
+and there particularly in drapery to make very decided
+effects of strong color; but it can only be used when
+the dress or draperies are dark in the photograph.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="MAGENTA" id="MAGENTA"></a>MAGENTA.</h2>
+
+
+<p>This also is a powerful color and must be used carefully.
+It is not adapted to landscapes, but in portraits is used for
+dresses and accessories. If the photograph requires a
+dark dress this color will make it a beautiful shade.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p>
+<h2><a name="FLESH" id="FLESH"></a>FLESH.</h2>
+
+
+<p>This color can be used a very little in the skies of landscapes
+when there is a sunset effect to be represented. In
+portraits it is used to color the faces and hands. After it
+is dry, retouch the cheeks and lips with the same color.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="BROWN" id="BROWN"></a>BROWN.</h2>
+
+
+<p>This color is used in all the shadows. In landscapes,
+in some instances, it serves for use in the middle distance
+and foreground; the light places should be retouched with
+yellow or gold. It is also used for tree trunks, fences,
+and the like. In portraits it serves to color the hair and
+eyes, and appears in the dark shadows of the drapery and
+furniture. If the background is dark, a nice effect is produced
+by tinting it a little with this color.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span></p>
+<h2><a name="BLACK" id="BLACK"></a>BLACK.</h2>
+
+
+<p>In transparent color this has more the effect of a dark
+gray than a brilliant black, such as is produced with body
+colors. When you want a very dark black, it is better to
+use a little India ink with it. It is used in the skies of
+landscapes when you wish a gray effect, or to subdue a too
+strong blue color or red, and in foregrounds for rocks. In
+connection with yellow it will make a sombre green for
+trees, mountains, etc. In portraits it is used for the hair
+and eyes, in the shadows around the mouth, and in drapery
+in connection with the other colors.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="GOLD" id="GOLD"></a>GOLD.</h2>
+
+
+<p>This is a combination of yellow and red, and in general
+can be used wherever either of these colors would
+answer. In landscapes a little can be used in the skies,
+the middle distances, and lights on the ground in the foreground.
+In portraits it is used to color the drapery and
+jewelry.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span></p>
+<h2><a name="INSTRUCTIONS_FOR_USING_LIQUID_WATER_COLORS" id="INSTRUCTIONS_FOR_USING_LIQUID_WATER_COLORS"></a>INSTRUCTIONS FOR USING LIQUID WATER COLORS.</h2>
+
+
+<p>Fill the two tumblers with water, and have all the other
+materials ready and convenient to work with. If you
+have selected a burnished and mounted photograph wet its
+surface with saliva; unburnished photographs, photogravures
+and engravings do not require this treatment, but in
+coloring them it will be necessary to mix a weak solution
+of gum arabic with the colors to prevent their penetrating
+the paper. If printed on too thin a paper the photogravure
+or engraving should be mounted. If it is found
+that the colors "crawl" or spread on the photograph, mix
+a little acetic acid with the colors you are using, and should
+this fail to remove the difficulty, rub a pinch of pumice
+stone over the photograph with the fingers.</p>
+
+<p>If the photograph is a portrait commence with the background,
+washing it all over with a brushful of diluted
+color, being careful not to get any on the face. If the
+background is light, use a weak solution of blue, if dark, a
+brown solution. The majority of backgrounds only need a
+very little tinting&mdash;just sufficient to change the color. For
+the face use flesh color, diluting it to the proper shade,<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span>
+washing it entirely over the face, and with a stronger solution
+of the same color tint the cheeks and lips, giving
+them a little brighter effect than the flesh color. Touch
+up the shadows in the face with the brown, and if there
+are any reflected lights use a very weak solution of the yellow
+color for them; then with some very weak black make
+the shadows around the mouth a little darker; next with a
+solution of blue, also very weak, strengthen the shadows
+in the forehead and around the temples; then color the
+eyes, using a small brush. If they are blue, use a weak
+solution of blue, if gray, use a little black, and if brown,
+then that color. Next color the hair; if brown, use brown
+mixed with a little black to take away the reddish color;
+if auburn, use brown and yellow, with a little gray between
+the lights and shadows. In working on the hair,
+move your brush in the direction of the lines of the hair;
+if wavy, then cause your brush to follow its lines. After
+you have thus gone over it, darken the shadows with a
+stronger solution of the same color. After the hair, paint
+the eyebrows and beard, if there is any, with the same
+color.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span></p>
+<h2><a name="DRAPERY" id="DRAPERY"></a>DRAPERY.</h2>
+
+
+<p>You must remember in using these liquid colors that
+they are transparent, and, therefore, whenever the print is
+light you cannot make it dark, unless you strengthen the
+shadows by applying opaque colors. For dresses, if they
+are light, use the delicate colors to suit your fancy, either
+the rose, blue, yellow, or gold; when they are dark, use
+the magenta or violet, being careful to spread the colors
+evenly. After you have once colored the dresses, then
+with a stronger solution of the same color darken the shadows;
+if you then touch up the half-shadows with blue the
+effect will be still finer. For neckties or ribbons use the
+complementary color to that of the dress. For laces use a
+weak solution of yellow, and after it is dry touch up the
+strong lights with Chinese white. If there is a curtain in
+the picture use the complementary color to the dress. For
+chairs use brown. If sky, trees and grass are to be
+painted, color them according to the directions given for
+landscapes under the different colors; only be sure to
+modify them, and keep them low in tone and color.</p>
+
+<p>In laying on flat washes of color, the brush must be held
+nearly upright and should be passed boldly over the surface;<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span>
+the color should then gradually be brought down
+and spread equally over the whole surface as rapidly as possible,
+in order to avoid letting any part dry before the
+whole has been covered; then whatever surplus there may
+be should be carefully sponged off. When you apply the
+wash of color to the picture the latter should not be held
+flat, but at a slight angle, so that the color will settle down
+towards the bottom of the picture.</p>
+
+<p>These colors are more suitable for figures and landscapes
+combined than they are for landscapes alone, yet very
+pretty effects in landscapes can be produced with them.
+If any white spots should be found in the photograph, as
+very often happens, after the picture is quite complete,
+touch them out with India ink, using a small brush.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span></p>
+<h2><a name="LANDSCAPE" id="LANDSCAPE"></a>LANDSCAPE.</h2>
+
+
+<p>If the sky is to be blue, wash it all over with a weak
+solution of blue; if there are white clouds, you can touch
+up the highest lights with Chinese white; if there is a sunset
+or rosy effect, use a weak solution of rose or a little
+magenta. But it is best not to try to make too much of
+the sky, as the gray that is generally in it will give a very
+pretty effect and leave more contrast between the figures
+and the sky. For the middle distance mix blue, rose, and
+a little yellow or gold if you want it greenish, or you can
+use a very little brown. The nearer the trees come in the
+foreground the stronger in color they should be; that is,
+they should tend more to the green and brown and less
+to the bluish color. If they are to be bright green use blue
+and yellow, and retouch the light places with yellow. You
+can make the green duller by mixing a little black with
+the yellow, or you can make a richer green by using blue,
+gold and brown, and then touching up the lights with
+gold, and the shadows with brown. For the grass use
+blue and yellow, and retouch the lights with yellow; for
+the ground use brown, and retouch the lights with gold;
+for tree trunks, fences, and the like, use brown; for rocks,
+use black and a little brown.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span></p>
+<h2><a name="THE_PRINCIPLE" id="THE_PRINCIPLE"></a>THE PRINCIPLE.</h2>
+
+
+<p>The study of painting as an art is based on three considerations,
+form, light and shade, and color. I will now
+treat of color&mdash;the form, and light and shade being furnished
+for us in the photograph. Photography as a means of art
+education in its influence on the public is salutary. In
+spite of all its falsity it is the best teacher of the first elements
+of criticism and knowledge of the facts of form and
+light and shade. Photography does not produce color, so
+that we will add the one link to the chain that is wanting.
+As we are dealing with pictures finished in light and shade,
+it is well that we should have rules to aid in choosing good
+ones to work on.</p>
+
+<p>In selecting a photograph to color we want as perfect a
+print as it is possible to procure. A light one is preferable.
+Notice in particular if it is well defined, that the
+shadows and middle shades are clear, the lights pure, and
+that it is free from defects and spots. Many think that
+they can take a poor photograph, and, by coloring it, cover
+up the defects, but they are wrong in this, for the transparent
+colors will not conceal defects. The best rule is<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span>
+that the better the photograph the better will be the picture
+when finished. The Soule Photograph Company, No.
+338 Washington Street, Boston, Mass., furnish photographic
+reproductions, mounted and unmounted, of all the
+best paintings in the world, in both public and private
+art galleries, and their photographs are the best to color.
+Therefore, to begin with, have a perfect picture to color.
+Scholars in commencing to use the brush will not be able
+to produce bold effects of color, and will only acquire
+that power by use and practice. By bold effects I do
+not mean that one part is to be more prominently rendered
+than any other portion of the work, but merely the
+brilliancy of coloring which distinguishes professional from
+amateur work. In any kind of painting it must be borne
+in mind, that there are no decided lines forming the
+edges of any object. The point insisted on is that the
+boundaries of objects must be of that color that will
+harmonize and subdue the picture, producing a soft,
+delicate effect.</p>
+
+<p>I would advise all who begin to paint to commence with
+water colors, as they are the easiest to manipulate, the
+liquid water colors being easier than the body colors,
+and their use the simplest of all kinds of painting. The
+photograph being a fac-simile of a subject as it appears to
+the eye in form and light and shade, furnishes a picture<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
+perfect except in color, while the liquids supply the color
+in the form best adapted to teaching the first steps in its
+use. It is hoped, though, that after the student has thoroughly
+mastered this course of study, he will attempt something
+higher and more difficult in the study of art.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2 class="center sans"><big>French Crystals.</big></h2>
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span></p>
+
+<p class="figcenter" style="width: 600px;">
+<img src="images/image123.png" width="600" height="225" alt="" title="" />
+</p>
+
+
+
+
+<h2><a name="FRENCH_CRYSTALS" id="FRENCH_CRYSTALS"></a>FRENCH CRYSTALS.</h2>
+
+
+<p>These are photographs colored with liquid water colors
+and mounted on glass. For several years a process has
+been taught by which a photograph is rendered transparent
+by the use of paraffine oil, etc., then mounted on glass, and
+colored from the back with oil paints. While by this
+method a picture pleasing at the time could be produced,
+yet unless the process was perfectly executed the oils would
+decompose and the picture become yellow and spotted.
+The use of water colors entirely overcomes these objections,
+as it is so simple that any one can employ them perfectly,
+and as there are no oils used in their production they cannot
+change or turn yellow.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span></p>
+<h2><a name="MATERIALS" id="MATERIALS"></a>MATERIALS.</h2>
+
+
+<p style="margin-left: 2em;">Convex glasses on which to mount photographs,<br />
+
+Bottle of Florentine, Egyptian, Grecian or other compound
+for mounting on glass,<br />
+
+Best French picture glass,<br />
+
+Some gummed paper,<br />
+
+A dish in which to soak photographs,<br />
+
+Some dark, thin, fancy paper,<br />
+
+Sheet of blotting paper.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span></p>
+<h2><a name="THE_METHOD" id="THE_METHOD"></a>THE METHOD.</h2>
+
+
+<p>Having secured a good photograph, rub a little pumice
+stone over it with the finger, and then, if it is mounted,
+remove it from the card by placing it in warm water and
+allowing it to soak for an hour or two, or over night if necessary.
+After it is thus freed from the card lay it face
+down on a piece of glass, and sponge off all the starch from
+the back. Cut a piece of blotting paper the size of the picture
+and lay it on a glass, wetting it with water applied
+with a sponge; then lay the photograph, still wet, on the
+blotting paper, and, with a sponge, remove all the surplus
+water from its surface. Now proceed to color it according to
+the directions given in the preceding pages for coloring
+photographs with transparent liquid water colors. In case
+you should put on too much color, let the photograph soak
+a few moments in warm water, when the surplus color will
+gradually come out, and you may then recolor it. After it
+has been finished to your satisfaction, proceed to mount
+it according to the directions next given.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span></p>
+<h2><a name="MOUNTING_FRENCH_CRYSTALS" id="MOUNTING_FRENCH_CRYSTALS"></a>MOUNTING FRENCH CRYSTALS.</h2>
+
+
+<p>The glass for mounting, whether flat or convex, should
+be the same size as the picture. It should be dipped in
+water and permitted to drain off, but do not dry it; pour a
+little of the compound on the side against which the photograph
+is to be placed&mdash;the hollow side, if the glass is convex&mdash;let
+it drain off and lay the picture face down upon it.
+With the thumb and finger commence at the centre of the
+photograph, smoothing it down close to the glass, forcing
+all the air bubbles out to the edges, thus continuing until
+the picture is entirely smoothed out, and at every point in
+actual contact with the glass. During this process hold the
+glass at an angle, so that you can see if there are any air
+bubbles or glistening places in it by examining its face occasionally;
+and always let a little of the compound get on
+the back of the photograph, as it allows the fingers to glide
+over it more easily and lessens the chance of tearing it.
+Now take a second glass the same size as the first, and
+having thoroughly cleaned it, fasten it to the back of the
+other by small strips of gummed paper. Then place a
+piece of card-board of the same size on the back of the two
+glasses and fasten the three together also with small strips<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span>
+of gummed paper; finally securing the whole firmly together
+by binding it with some large strips, and your picture
+is ready to frame. In case you do not care to frame
+it, cut out a piece of some dark fancy paper, a quarter of
+an inch on each edge larger than the picture, and fasten it,
+dark side out, on the back, allowing the quarter of an inch
+to lap over and be pasted on the face, after which straighten
+the edges with a ruler and sharp knife.</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span></p>
+<h2><a name="FINISHING_PHOTOGRAPHS_IN_INDIA_INK" id="FINISHING_PHOTOGRAPHS_IN_INDIA_INK"></a>FINISHING PHOTOGRAPHS IN INDIA INK.</h2>
+
+
+<p>The principles that have been given in regard to finishing
+photographs with lines, apply also to finishing with India
+ink&mdash;with the exception that in the manipulation of
+the ink it must be remembered that it cannot be taken out;
+therefore, you must commence to finish the photograph gradually,
+and produce the proper strength by repeatedly working
+over it. The old method of making India ink portraits
+was to have a print on "plain" paper&mdash;a kind without
+albumen on its surface. The great disadvantage of
+"plain" paper is that the lights and shadows on it are not
+strong, and therefore it takes too much work to finish
+the picture.</p>
+
+<p>The following method (which is very simple and can be
+used in work on albumen paper, provided you have treated
+it by rubbing pumice stone over its surface with your fingers),
+adapts it to India ink. Of course the pumice
+stone treatment destroys the albumen on the surface, causing
+it to have a dull appearance, but after the picture has
+been finished its lustre can be restored by the use of a not
+too warm burnisher.</p>
+
+<p>In finishing the photograph commence on the hair by<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span>
+washing it all over (with the exception of the highest light)
+with a weak solution of the ink, using the brush in the
+same direction that the hair goes; after this has dried, indicate
+the half-shadow with a little stronger wash, and
+after drying it again put in the deeper shadows, then the
+eyebrows, eyes and beard, if the subject has one.</p>
+
+<p>Faces are finished in India ink on the line principle,<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a>
+which shows the grain of the flesh. Commence on the
+forehead with a very weak solution, and then continue it
+all over the face, repeatedly working and cross hatching
+with lines until the face is dark enough; then strengthen
+the shadows under the eyes, nose, mouth and chin. After
+the face is completed put in the clothes. This you do by
+washing them over with two or three solutions of the ink,
+and then producing the line effect as in work on crayon
+portraits, explained on page <a href="#Page_76">76</a>, the difference in the nature
+of the material used being always borne in mind. After
+the picture is otherwise completed, you can brighten up the
+eyes and some of the strongest shadows with a solution of
+gum arabic and water.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> See pages <a href="#Page_57">57</a> and <a href="#Page_72">72</a>.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span></p>
+<h2><a name="CONCLUSION" id="CONCLUSION"></a>CONCLUSION.</h2>
+
+
+<p>While it is thought that all essential instructions on the
+topics treated of have been given in the foregoing pages,
+and that if faithfully followed they will lead the pupil to
+attain satisfactory results, it is hoped that my readers who
+have accompanied me thus far will not be content to continue
+to use a photograph as the basis of their work, but
+will advance to the pursuit of art in a broader and more
+scientific manner. As a step in this direction the study of
+form, and light and shade, by drawing from the cast
+should be taken up; and to this work the directions as to
+light and shade given in the foregoing pages fully apply,
+that requiring the object to be placed in such a position
+that the light will strike it at an angle of ninety degrees
+being always borne in mind.</p>
+
+<p>The student will do well to gain all he can from the
+published works of the leaders in the profession, whose
+writings, both theoretical and practical, are invaluable.
+Three essays by John Burnet I can very heartily recommend.
+They are "Practical Hints on Light and Shade,"
+"Practical Hints on Composition," and "The Education
+of the Eye." These are published in a single volume,<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span>
+which is illustrated with examples from the great masters
+of the Italian, Flemish and Dutch schools, and
+should be in the hands of every amateur. They will all
+repay perusal and study until their principles are mastered.
+An English edition of these books is published by James
+Carpenter, London, and in this country they have been reproduced
+by Edward L. Wilson, editor of the <i>Philadelphia
+Photographer</i>. Another book which abounds in valuable
+and practical information for the amateur and can be
+highly commended, is "Art Recreations, a Guide to Decorative
+Art," by Marion Kemble, published by S. W. Tilton
+&amp; Co., Boston; also J. Bacon's "Theory of Coloring,"
+issued by Geo. Rowney &amp; Co., England.</p>
+
+<p>Those who are disposed to treat disdainfully the work of
+finishing photographs in crayon and color as not demanding
+truly artistic qualities, should not forget that success
+here has still a real value in awakening in many who undertake
+it a feeling for art of a higher kind, and in developing
+a natural talent which otherwise might have been
+undiscovered. Many an artist now looks back with pleasure
+and gratitude to this sort of work, in which he received
+the first impetus toward higher effort.</p>
+
+<p>In answer to the assertion which is sometimes made that
+transparent water colors are not permanent, I claim that in
+the sense in which the word is ordinarily used in connection<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span>
+with photography they may properly be called so.
+In this sense the lasting qualities which characterize the
+materials used by the old masters are not looked for, but
+where photographs have been thus colored, finished in the
+form of French crystals, and properly sealed from the
+atmosphere, they are practically permanent. I have some
+in my possession that were made years ago, and they are
+as bright and fresh to-day as when first colored. It can
+be truly said that photographs colored in this way make
+very beautiful and pleasing pictures, obtainable with but
+little work and expense, and having practical permanency
+of color.</p>
+
+<p>As a final word to those who intend to follow art as a
+profession, I urge the earnest study and mastery of drawing
+at the outset as the foundation of all art; then take up
+work in body water colors, and when the theory of coloring
+is fully understood, do not neglect the careful reading
+of books of acknowledged merit bearing on your work.
+The more notes you take in the course of your reading the
+more fully you will assimilate the author's thought, while,
+at the same time, you furnish the easiest means of rapid review.
+After all, your soundest basis for work will be your
+deep and continuing love for it, and your willingness to
+labor long and conscientiously to attain excellence. Do
+not imagine that the profession of an artist is that of an<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>
+idler. On the contrary, of all occupations it is perhaps the
+most active, for one is constantly engaged, if not with art
+itself, at least with its materials.</p>
+
+<p>Every artist will confess that were it not for the charm
+with which it rewards the votaries who follow it from love,
+the pursuit would be a painful one, such vigilant precaution
+does it require, such constant foresight, such calculation
+and preparation against possible difficulty on every
+hand; but the true artist, happy in the daily gain of
+knowledge which his experience brings him, and delighted
+with the gradual mastery of his work, as a rule lives along
+enjoyably, retaining more than most men the freshness of
+youth while he gains in power as he advances in years.
+So pleasant a fate as this for each of his readers is the closing
+wish of the author.</p>
+
+
+
+
+<hr style="width: 65%;" />
+
+<h3>Transcriber's Notes</h3>
+
+<p>Moved some illustrations to avoid breaking up paragraphs of text. The
+page references in the List of Illustrations refer to the original
+book, but link to the illustrations.</p>
+
+<p>Corrected minor punctuation errors and hyphenation inconsistencies,
+and made the following changes:</p>
+
+<p>
+Page <a href="#Page_50">50</a>: Changed necesssary to necessary:<br />
+<span style="margin-left: 1em;">(all the details necesssary).</span><br />
+<br />
+Page <a href="#Page_67">67</a>: Changed Appelton to Appleton:<br />
+<span style="margin-left: 1em;">(From the Annual Encyclopedia. Copyrighted, 1891, by D. Appelton).</span><br />
+<br />
+Page <a href="#Page_74">74</a>: Changed where-ever to wherever:<br />
+<span style="margin-left: 1em;">(using the latter where-ever a lighter effect is required).</span><br />
+<br />
+Page <a href="#Page_90">90</a>: Changed picrure to picture:<br />
+<span style="margin-left: 1em;">(And when a picrure is composed chiefly of middle tint).</span><br />
+</p>
+
+
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
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+</pre>
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+</body>
+</html>
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@@ -0,0 +1,2914 @@
+The Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Crayon Portraiture
+       Complete Instructions for Making Crayon Portraits on Crayon
+       Paper and on Platinum, Silver and Bromide Enlargements
+
+Author: Jerome A. Barhydt
+
+Release Date: October 13, 2009 [EBook #30248]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CRAYON PORTRAITURE ***
+
+
+
+
+Produced by Chris Curnow, Diane Monico, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+
+
+Crayon Portraiture.
+
+
+[Illustration: FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER--STIPPLE
+EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT.]
+
+
+
+
+CRAYON PORTRAITURE
+
+COMPLETE INSTRUCTIONS FOR MAKING CRAYON
+PORTRAITS ON CRAYON PAPER AND ON
+PLATINUM, SILVER AND BROMIDE
+ENLARGEMENTS
+
+ALSO DIRECTIONS FOR THE USE OF
+TRANSPARENT LIQUID WATER COLORS
+AND FOR MAKING
+FRENCH CRYSTALS
+
+
+BY
+
+J. A. BARHYDT
+
+AUTHOR OF ARTICLE ON CRAYON PORTRAITURE IN
+_Appleton's Annual Cyclopedia, 1890_.
+
+
+Illustrated
+
+_Revised and Enlarged Edition_
+
+NEW YORK
+THE BAKER & TAYLOR CO.
+33-37 E. 17TH STREET, UNION SQUARE NORTH
+
+
+COPYRIGHT, 1886 AND 1892
+
+BY J. A. BARHYDT
+
+
+ROBERT DRUMMOND, PRINTER, NEW YORK
+
+
+
+
+PREFACE.
+
+
+In issuing this second treatise on Crayon Portraiture, Liquid Water
+Colors and French Crystals, for the use of photographers and amateur
+artists, I do so with the hope and assurance that all the requirements
+in the way of instruction for making crayon portraits on photographic
+enlargements and for finishing photographs in color will be fully met.
+To these I have added complete instructions for free-hand crayons.
+
+This book embodies the results of a studio experience of twenty-four
+years spent in practical work, in teaching, and in overcoming the
+everyday difficulties encountered, not alone in my own work, but in
+that of my pupils as well. Hence the book has been prepared with
+special reference to the needs of the student. It presents a brief
+course of precepts, and requires on the part of the pupil only
+perseverance in order that he may achieve excellence. The mechanical
+principles are few, and have been laid down in a few words; and, as
+nearly all students have felt, in the earlier period of their art work,
+the necessity of some general rules to guide them in the composition
+and arrangement of color, I have given, without entering into any
+profound discussion of the subject, a few of its practical precepts,
+which, it is hoped, will prove helpful.
+
+While this book does not treat of art in a very broad way, yet I am
+convinced that those who follow its teachings will, through the work
+they accomplish, be soon led to a higher appreciation of art. Although
+this kind of work does not _create_, yet who will say that it will not
+have accomplished much if it shall prove to be the first step that
+shall lead some student to devote his or her life to the sacred calling
+of art?
+
+It has been said that artists rarely, if ever, write on art, because
+they have the impression that the public is too ill-informed to
+understand them--that is, to understand their ordinarily somewhat
+technical method of expression. If, therefore, in the following pages I
+may sometimes seem to take more space and time for an explanation than
+appears necessary, I hope the student will overlook it, as I seek to be
+thoroughly understood.
+
+My hope with reference to this work is that it may prove of actual
+value to the earnest student in helping him reach the excellence which
+is the common aim of all true artists.
+
+                        J. A. BARHYDT.
+
+
+
+
+CONTENTS.
+
+                                                                  PAGE.
+
+Preface                                                             ix
+
+Crayon Portraiture                                                  15
+
+Photographic Enlargements                                           19
+
+Crayon Materials                                                    22
+
+The Specific Use of Crayon Materials                                25
+
+The Strainer                                                        30
+
+Mounting Crayon Paper and Platinum and Silver Enlargements          32
+
+Mounting Bromide Enlargements                                       37
+
+Outlines--Negative Outline                                          39
+
+Magic Lantern Outline                                               42
+
+Transfer Outline                                                    46
+
+The Metroscope                                                      47
+
+The Pantograph                                                      49
+
+Crayon Effects--The Four Methods of making Backgrounds              51
+
+Free-hand Crayons and those made from Photographic Enlargements     53
+
+Filling in the Free-hand Crayon                                     55
+
+Line Effect                                                         57
+
+Stipple Effect                                                      59
+
+Backgrounds--General Principles                                     62
+
+First Method of making the Background--Stump Effect                 65
+
+Second Method of making the Background                              66
+
+Third Method of making the Background--Line Effect                  67
+
+Fourth Method of making the Background--Stipple Effect              70
+
+Face--Line Effect                                                   72
+
+Dress--Line Effect                                                  76
+
+Bromide Crayons                                                     78
+
+Finishing Bromide Enlargements                                      82
+
+Monochromes                                                         88
+
+Values                                                              89
+
+The Studio                                                          93
+
+Framing                                                             95
+
+Passepartout Mounting                                               97
+
+
+TRANSPARENT LIQUID WATER COLORS FOR COLORING
+PHOTOGRAPHS.--MATERIALS REQUIRED IN THEIR USE                      101
+
+Theory of Color                                                    103
+
+Colors                                                             106
+
+Yellow                                                             106
+
+Blue                                                               107
+
+Rose                                                               108
+
+Violet                                                             109
+
+Magenta                                                            109
+
+Flesh                                                              110
+
+Brown                                                              110
+
+Black                                                              111
+
+Gold                                                               111
+
+Instructions for using Liquid Water Colors                         112
+
+Drapery                                                            114
+
+Landscape                                                          116
+
+The Principle                                                      117
+
+
+FRENCH CRYSTALS                                                    123
+
+Materials                                                          124
+
+The Method                                                         125
+
+Mounting French Crystals                                           126
+
+Finishing Photographs in India Ink                                 128
+
+Conclusion                                                         130
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+                                                                  PAGE.
+
+Free-hand Crayon made on Steinbach Crayon Paper with a
+Magic Lantern Outline, showing Stipple Effect in Face
+and Drapery and Broken Line Effect in Background         _Frontispiece_
+
+Negative Outline--Dark Chamber                                      40
+
+McAllister's Magic Lantern, No 653, with Wonder Camera
+  Attachment                                                        42
+
+Magic Lantern Outline                                               43
+
+Lines to produce Stipple Effect                                     60
+
+Background--Line Effect                                             67
+
+Line Effect for Face                                                72
+
+Line Effect for Dress                                               76
+
+Crayon executed over Bromide Enlargement made from Original
+Negative, showing Stipple Effect throughout                         80
+
+[Illustration]
+
+
+
+
+CRAYON PORTRAITURE.
+
+
+To many who know nothing about the art of crayon portraiture, the
+mastery of it not only seems very difficult, but almost unattainable.
+In fact, any work of art of whatever description, which in its
+execution is beyond the knowledge or comprehension of the spectator, is
+to him a thing of almost supernatural character. Of course, this is
+more decided when the subject portrayed carries our thoughts beyond the
+realms of visible things.
+
+But the making of crayon portraits is not within the reach alone of the
+trained artist who follows it as a profession. I claim that any one who
+can learn to write can learn to draw, and that any one who can learn to
+draw can learn to make crayon portraits. Making them over a
+photograph, that is, an enlargement, is a comparatively simple matter,
+as it does not require as much knowledge of drawing as do free-hand
+crayons. But you must not suppose that, because the photographic
+enlargement gives you the drawing in line and an indistinct impression
+of the form in light and shade, you are not required to draw at all in
+making a crayon portrait over such an enlargement. Some knowledge of
+drawing is necessary, though not a perfect knowledge.
+
+Many people err in supposing that only the exceptionally skilled can
+produce the human features in life-like form upon the crayon paper.
+While recognizing great differences in natural aptitude for drawing in
+different persons, just as those who use the pen differ widely in their
+skill, some being able to write with almost mechanical perfection of
+form, I still hold that any one who is able to draw at all can succeed
+in producing creditable crayon portraits; and the lack of great skill
+as a draughtsman, should neither discourage a student nor debar him
+from undertaking to make crayon portraits (over enlargements, at
+least), either as an amateur or professional. To make a crayon from
+life undoubtably requires considerable talent and some education as an
+artist; but photography, in recent times, has made such advances from
+the old fashioned daguerreotype to the dry plate process and
+instantaneous exposure, and such developments have recently been made
+in the field of enlargements and in photographic papers, that it is now
+possible for anyone, who will carefully follow the plain instructions
+given in the following pages, to make a good crayon portrait by the aid
+of the different kinds of enlargements. These place in his hands a
+perfect reproduction of what he wishes to make; and care and close
+attention to details will insure the rest.
+
+The student, however, must have courage. I tell my pupils not to be
+afraid to work freely; that if they spoil their work beyond their
+ability to redeem it, I can always fix it up and restore it for them;
+and that they should go ahead confidently. The reader may say that he
+has no teacher to help him out of his difficulty; but he must remember
+that he has the photographic enlargement as a sure guide, and that
+whenever he fears he is losing the outline, he can see at once what he
+is doing, by holding the enlargement against the light with its back
+towards him. My experience as a teacher has shown me that pupils, as a
+rule, are timid, especially that class which works mostly on
+enlargements, resulting from the fear of losing the outline and from
+lack of a thorough knowledge of drawing. I especially urge the
+necessity for boldness and freedom in execution. As an expert in
+chirography can read character in handwriting, so the artist's public
+will judge him from his work. If he is, in fact, weak and timid, these
+traits will find expression in what he puts on paper. Let courage,
+then, be an important part of your equipment, if you would succeed in
+doing good crayon work.
+
+
+
+
+PHOTOGRAPHIC ENLARGEMENTS.
+
+
+There are three kinds of photographic enlargements used as a basis for
+crayon portraits, and, with a little experience, the student can
+determine for himself which kind will prove the most satisfactory.
+
+Free-hand crayons are made on Steinbach and other crayon papers,
+without any photograph as a basis. Silver enlargements are made on
+paper coated with a solution of chloride of silver, which the action of
+the light reduces to salts of silver. This is the oldest form of
+photography, and has been used since its introduction by Scheele in
+1778. Silver enlargements are made by the aid of the sun (and are then
+called solar enlargements) or they can be made with the electric light.
+
+Platinum enlargements are a recent advance in photographic printing
+with iron salts, the process which has been worked out and patented by
+W. Willis, Jr., being a development of such printing. Its principle is
+that a solution of ferrous oxalate in neutral potassium oxalate is
+effective as a developer. A paper is coated with a solution of ferric
+oxalate and platinum salts and then exposed behind a negative. It is
+then floated in a hot solution of neutral potassium oxalate, when the
+image is formed.
+
+This process was first introduced by Mr. Willis in 1874, and he has
+since made improvements. He claims that the platinotype paper does not
+contain any animal sizing. The early experiments convinced him that the
+paper upon which the image was to be printed would prove an important
+factor, as all photographic paper contained animal sizing, which was
+found to be antagonistic to platinum salts. The action of platinum
+salts upon a paper containing animal sizing gave it a tint which no
+amount of acid washing could remove. For the past nine years Mr. Willis
+has had manufactured for his special use a Steinbach paper, free from
+the animal sizing, and he also uses a cold developer, thereby causing
+the paper to retain its original elasticity.
+
+The chief points of difference between bromide enlargements and silver
+or platinum enlargements are that, in the former, we have the sensitive
+compound of silver suspended in a vehicle of gelatin, and, in the
+latter, a thin coating of an aqueous solution of the sensitive salts.
+In the former process, the image is not shown until the paper has been
+developed in the bath, while in the latter, the image is shown upon the
+paper when it is exposed to the light; so that, in the latter, the
+image or picture has only to be fixed or made permanent, while in the
+former, it is developed, then fixed. The gelatin bromide paper is
+coated with a solution of gelatin, bromide of potassium and nitrate of
+silver, developed with a solution of oxalate of potash, protosulphate
+of iron, sulphuric acid and bromide of potassium and water, and fixed
+with hyposulphate of soda. It is manufactured in America by E. and H.
+T. Anthony & Co. and by the Eastman Dry Plate Company.
+
+
+
+
+CRAYON MATERIALS.
+
+
+The following materials will be found necessary for crayon work:
+
+    A good photographic enlargement,
+    Easel,
+    Mahl stick,
+    Three inch magnifying glass,
+    Square black Conte crayon, Nos. 1, 2 and 3,
+    Charcoal holder for the same,
+    Hardmuth's black chalk points, Nos. 1, 2, 3, 4 and 5,
+    Holder for the same,
+    Box Faber's crayon points, Nos. 1, 2 and 3,
+    Holder for the above crayons,
+    Conte crayon, in wood, Nos. 0 and 1,
+    6 B. Faber's holder for Siberian lead pencil points,
+    4 H. Faber's holder with Siberian lead pencil point,
+    Velour crayon,
+    Peerless crayon sauce,
+    Black Conte crayon sauce, in foil,
+    White crayon, in wood,
+    Bunch of tortillon stumps,
+    Large grey paper stumps,
+    Small grey paper stumps,
+    The Peerless stump,
+    Large rubber eraser, 4 inches by 3-4 inches square, bevelled end,
+    Two small nigrivorine erasers,
+    Holder for nigrivorine erasers,
+    Piece of chamois skin,
+    Cotton batting of the best quality,
+    A sheet of fine emery paper,
+    A sharp pen knife,
+    One pound of pulverized pumice stone,
+    Mortar and pestle,
+    A large black apron,
+    Paste-board box about ten inches square and two inches deep,
+    Back-boards for mounting crayon paper and photographic enlargements,
+    Pliers,
+    Paste brush, three inches wide, to be used for starch paste or for
+      water.
+
+Experience has taught me that we cannot be too particular in giving
+directions as to the materials for our work, and therefore I have
+carefully included in the above list everything necessary to thoroughly
+equip the student. While the magnifying glass mentioned above is not an
+actual necessity, still a good one will be found very useful, as it
+will often show details in the photograph which would not be discovered
+by the naked eye. My male readers may at first object to so feminine an
+article as an apron, but it will be found thoroughly useful, and I am
+sure they will never consent to abandon it after they have once become
+accustomed to wearing it.
+
+
+
+
+THE SPECIFIC USE OF CRAYON MATERIALS.
+
+
+I will now explain the specific use and nature of these materials,
+reserving the various kinds of photographic enlargements and their
+special qualities and advantages, for treatment under their different
+manipulations.
+
+The easel should be set so that the light strikes the picture at an
+angle of 90 deg., and, when working from a side light, it will very
+often be necessary to darken the lower part of the window to accomplish
+this result.
+
+The mahl stick is held in the left hand, and is used as a rest for the
+right arm in working. Though a trifle awkward and difficult at first,
+its use must, nevertheless, be learned, as the hand will not be steady
+without it, especially in portrait work.
+
+The square black Conte crayons are for filling in where there are large
+dark places. The No. 1 is used with the black Conte crayon sauce in
+making the crayon sauce (to be applied with the ends of the fingers) to
+produce a broad effect and to make the stipple effect on the paper
+after it has been rubbed with pumice stone.
+
+The crayon points, Nos. 1, 2 and 3, are used in making outlines and
+also in putting in the lines to produce the line effect. In general,
+they are to be used in free-hand crayons and on silver and platinum
+enlargements.
+
+The Hardmuth black chalk points are similar to the crayon points, and,
+if preferred, should be used according to the directions given for the
+crayon points.
+
+The Hardmuth points are made in five numbers and will, therefore,
+produce more shades of black than the crayon points. They are also
+twice as long as the latter, without costing any more.
+
+The Conte crayons, in wood, are used for finishing the crayon,
+especially the No. 0, its hardness adapting it to that purpose.
+
+The 6 B. Faber's holder, for lead pencil points, is for holding the
+Faber's Conte crayon No. 0 after it has become short, the wood being
+carefully removed before the crayon is placed in the holder.
+
+The 4 H. holder, with Siberian lead pencil point, is used in the very
+finest work on bromide paper, for finishing in the light places. Care
+must be employed not to use too much lead on the paper, as, being of a
+different color from the crayon, it would show if too freely applied.
+It is also used in making monochromes.
+
+Velour crayon is very black. It is only used to produce a velvet effect
+and whenever it is necessary to make a very strong dark--that is, a
+dark that is deeper than an ordinary shadow.
+
+The Peerless crayon sauce is the same as the crayon sauce made from No.
+1 Conte crayon and the black Conte crayon sauce in foil. It is made and
+put up in bottles by F. W. Devoe & Co., and can be bought of any dealer
+in artist's materials. It will be found more convenient to get it in
+this form than to prepare it in the studio; it costs no more and saves
+the expense of a mortar and pestle. As it is ground by machinery and
+passed through a very fine screen, there are no small hard particles in
+the preparation, and its use is recommended.
+
+Black Conte crayon sauce, in foil, is used in making the crayon sauce
+to be applied with the fingers.
+
+White crayon, in wood, is for touching up the high lights of white
+drapery, and especially for the high lights on white lace; it is to be
+used very sparingly.
+
+Tortillon stumps are used in making the face, when it is desired to
+produce the stump effect, and also in making the hair.
+
+The large grey paper stump serves to make the broad effect of shade in
+the stump effect in the hair and dress.
+
+The Peerless stump is used to produce the same effect as the large grey
+paper stump. It will be found far better than the paper stump for work
+on the bromide paper, as it is made of softer material and causes the
+crayon to adhere to the paper more readily.
+
+The large rubber eraser is to put in the broad effects of light in the
+background and dress. The small nigrivorine erasers are used when it is
+necessary to remove the crayon, in order to produce small decided
+lights--principally in making free-hand crayons and to produce the line
+effects over a platinum and silver enlargement. While the stumps are
+used for putting on the crayon, the erasers are used to remove it. The
+chamois is also used for removing the crayon, to produce broad effects
+of light.
+
+The cotton is for applying the crayon sauce to the paper and for
+rubbing the crayon at different stages in the completion of the
+picture. The crayon cannot be removed with the eraser unless it has
+first been rubbed with the cotton; and this must be borne in mind, as
+the use of the eraser at this stage would only result in making a black
+line or spot, when it was intended to produce a white line or spot.
+
+It will also be well to make a chamois block for applying the crayon
+sauce, to be worked with the tortillon stump. This is done by tacking
+onto a block, four inches long, two inches wide and three-quarters of
+an inch thick, a piece of chamois skin, three inches wide by five
+inches long, allowing it to cover the top, while it is fastened along
+the four edges. This is placed face down in the box of crayon sauce and
+rubbed around in it, so that the crayon will adhere thoroughly to the
+chamois.
+
+Emery paper is used to sharpen the nigrivorine erasers and the crayon
+points.
+
+The knife, which is a very important tool, should be a good one, always
+kept well sharpened. The best for this work is an ink eraser, with a
+rounding point, a long edge on one side of the blade and a short one on
+the other side, extending about an inch from the point.
+
+The mortar and pestle are for pounding or grinding the Conte crayon No.
+1 and the crayon sauce, in making the special crayon sauce mentioned
+above.
+
+The paste-board box is intended to hold this special crayon sauce or
+the Peerless sauce.
+
+The back-boards are one inch thick, made to fit the back of the
+strainer (described in the next chapter), and are used in mounting. It
+will be necessary to have three different sizes, the most useful being
+11x15, 15x19 and 19x24 inches, to fit, respectively, strainers
+measuring 16x20, 20x24, 24x29 and 25x30 inches.
+
+The pliers should be either what is known as shoe-maker's pliers (which
+are the cheapest) or the canvas pliers, used in stretching that
+material; they are needed to stretch the cloth on the strainer.
+
+The pulverized pumice stone is used in preparing the surface of crayon
+paper and bromide enlargements, to produce the stipple effect.
+
+
+
+
+THE STRAINER.
+
+
+The strainer, on which crayon paper or any kind of photographic
+enlargement is to be mounted, should be the same size as the intended
+picture. The frame is made of four strips of pine wood, two inches
+wide, one inch thick on the outside, and three quarter inch on the
+inside, making a quarter inch bevel on the inside edge of the face;
+these are nailed together and glued. To this, tack a piece of bleached
+muslin, free from knots and rough places, which has been cut two inches
+larger each way than the frame. Use six ounce Swede upholsterers'
+tacks, placing one in the centre of the outside edge of one side and
+another directly opposite, stretching the muslin as firmly as possible
+with the fingers. Then place a third tack in the centre of the outside
+edge of the top, and a fourth in the centre of the bottom of the frame,
+stretching as before. In finishing, use the pliers in addition to the
+fingers, and remember that you must always stretch from the centre
+towards the corner or you will have wrinkles in the muslin. As this
+process should be thoroughly understood, I will give minute directions
+for completing the operation. Having already placed the four tacks as
+above, stand the strainer on its bottom edge on the floor, with the
+back towards you, and put in the fifth tack two inches to the right of
+the third, that is, the one on the top previously mentioned. Instead of
+stretching the muslin directly back in a straight line towards you and
+at right angles to the fourth tack, you must draw it with the fingers
+towards the right hand corner. Then finish stretching, and tacking this
+edge to the right hand corner of the top, placing the tacks two inches
+apart and taking care to only draw the cloth sufficiently to have it
+perfectly smooth and straight on the edges, leaving the stretching to
+be done with the pliers; then turn the strainer on the side edge and
+tack at two inch intervals from the centre of the other (that is the
+upper) side to the right hand corner, same as before, and then tack
+half of the bottom edge and half of the other side in the same way. You
+will observe that you now have only one half of the muslin tacked--that
+is, one half on each edge--and you then complete the tacking, using the
+pliers to thoroughly stretch the muslin. This method has the advantage
+that you can stretch the muslin on the strainer and get it on better
+and in less than half the time required by the old method; also that
+you stretch the whole surface of the muslin with the pliers, and do it
+with only half the work.
+
+
+
+
+MOUNTING CRAYON PAPER AND PLATINUM AND SILVER ENLARGEMENTS.
+
+
+Wet in clean water a piece of muslin about two inches larger each way
+than the paper you intend to mount, and lay it on the mounting board or
+table, removing all the wrinkles with a wet brush; then place the paper
+on this cloth, face down, and with some water and a brush, wet the back
+of the paper, continuing to use the brush until all the wrinkles are
+entirely smoothed out and the paper lies down perfectly flat. Any
+number of pieces of paper can be wet at the same time by placing one
+over the other, provided the larger sizes are laid down first and each
+is brushed out flat before another is placed over it. Let the paper
+soak for about fifteen minutes.
+
+After having removed the surplus water from the paper with a cloth,
+sponge or squeegee, apply starch paste to the paper with a paste brush,
+going over it thoroughly, until it has received an even coat of paste
+free from lumps. Then lay one of the back-boards on a table and, having
+placed the strainer down on it face up, give the cloth of the latter a
+coat of paste, using the same care you did in going over the paper,
+taking pains to have the edges of the cloth well pasted, and to
+remove, by passing your finger all around the outside edges of the
+strainer, any paste which may be there. Now pick the paper up and place
+it on the pasted surface of the strainer, which an assistant should
+hold tipped towards you. (The help of an assistant will be found almost
+indispensable in mounting). After the paper is in the proper place, lay
+the strainer down and secure each corner of the paper, by first lifting
+it slightly and then rubbing it down with a clean cloth from the
+direction of the centre towards the corner you have lifted up. With a
+sharp knife trim off the edges of the paper and set it away to dry, but
+neither near a fire nor in too cold a place. You can very often save
+the remounting of a paper by occasionally glancing at it as it dries
+and by gently rubbing down a little with the fingers any places that
+look as if they would not stick. Very often the paper will be all right
+with the exception of this difficulty at one edge or corner. This is
+invariably the lower part, and is caused by the water settling there.
+It is therefore advisable to change the position of the strainer two or
+three times as it dries, letting it stand on different edges.
+
+After the paper is dry, if there are any places that have refused to
+stick fast to the cloth, it will be impossible for you to remedy the
+matter, and you must remount it. You proceed, therefore, to remove the
+paper from the cloth. This you do by turning the strainer face down and
+filling the back of it with warm water, allowing it to remain there
+until you think that the paste has become thoroughly dissolved; then
+turn the strainer over and carefully remove the paper. If it should not
+come off readily, fill the strainer again with water, and soak it until
+it will come off. After you have removed the paper, lay it on a wet
+cloth, and with a case knife clean off the starch, using care not to
+injure the surface of the paper, and also clean off the starch from the
+strainer; then proceed to remount as before. When you once understand
+that you cannot spoil an enlargement on account of defective mounting,
+you will work more confidently. After you have tried three times to
+remount, and the paper still insists in not sticking, you must take a
+new strainer, as too many wettings will have spoilt the cloth and wood.
+Sometimes there seems to be a difference in the stretching qualities of
+the enlargement and cloth, which makes it impossible to produce a
+perfect cohesion. When, therefore, it has been remounted three times
+and does not come out perfect, your best course is to mount a piece of
+crayon paper on a new strainer, and after it is thoroughly dry to then
+mount the enlargement on that. This you do in the manner described for
+mounting in the first instance, directly on the strainer, except that
+you do not coat with paste the crayon paper already mounted.
+
+It sometimes happens, that after the paper has been mounted and dried,
+it is discovered that lumps in the paste have caused defects to appear
+on the face of the paper in the shape of raised surfaces that unfit it
+for the intended purpose. These can be entirely removed by wetting the
+back of the strainer with some clean water immediately behind where the
+lumps of paste are, and with a knife scraping the cloth a little at
+these places; the surplus paste will work itself out through the cloth.
+
+The starch paste used in mounting should not be made very thick; on the
+contrary, it should be as thin as is consistent with still retaining
+all its adhesive qualities. Should you fear that it is too thick or
+lumpy, strain it through a piece of cheese cloth. In a former edition
+of this book I advised adding to the paste a little white glue
+dissolved in warm water, but I do not now consider this necessary for
+crayon paper or photographic enlargements, and do not recommend its use
+except for mounting paper of unusual thickness.
+
+The foregoing directions for mounting apply to platinum or silver
+enlargements, crayon or other kinds of paper, but not to bromide
+enlargements. The bromide paper requires a different method of handling
+on account of the gelatin surface, which when wet is destroyed by
+contact with any dry substance, as the latter removes the gelatin.
+
+For determining the proper position of photographic enlargements (bust
+pictures) on the strainer, the following scale will be useful as a
+general guide. When the size of the strainer is 16x20, 20x24, 22x26, or
+25x30 inches, the distances from its top to the top of the head of the
+portrait should be respectively 3-1/2, 4, 4-1/2 and 5-1/2 inches.
+
+
+
+
+MOUNTING BROMIDE ENLARGEMENTS.
+
+
+The first requisite for this is a water-tight tray, large enough to
+hold the enlargements. A hard rubber tray can be purchased, or a wooden
+one that will answer the purpose may be made. I use one of my own
+construction that is cheap and serviceable. It is simply a wooden box,
+27x32 inches and 4 inches deep, made of 1/2 inch grooved material and
+lined with black oil cloth, not cut at the corners, but folded in. In
+this, when about half full of water, lay the enlargement face up, and
+let it remain in the water fifteen minutes. It should then be laid face
+down on the wet cloth (which should be all ready) as described in the
+preceding chapter, for mounting crayon paper. Care must be exercised to
+have the cloth wet all over, for if there should be any dry spots in it
+they would ruin the gelatin surface. With a cloth or squeegee remove
+the water from the back of the enlargement and also from the cloth
+around its edges, for if there is too much water on the edge of the
+cloth it will work up into the paste and prevent it from sticking when
+mounted. Now paste the enlargement and strainer according to the
+directions given for mounting crayon paper, place the enlargement on
+the strainer and rub it down by using the fingers wet in a little
+water, or the squeegee can be used; and then trim off even with the
+outside of the strainer. Avoid rubbing too hard along the edges, as by
+so doing you will press out all the paste and it will not stick.
+
+You can remount a bromide enlargement as often as necessary in case it
+does not come out perfect, only bear in mind that you must not allow
+anything dry to touch the surface when wet. But I should not advise you
+to try more than three times directly on the strainer. It would be
+better to mount a piece of crayon paper on a new strainer, and after it
+is dry to remount the bromide enlargement on that.
+
+
+
+
+OUTLINES--NEGATIVE OUTLINE.
+
+
+After the crayon paper has been mounted on the strainer and dried, the
+next step is to obtain the outline. I will first treat of free-hand
+crayons, taking it for granted that the reader is not able to produce
+crayons from life, but works from a photograph. There are five
+different methods of making an outline, from which the reader can make
+his own selection.
+
+[Illustration: NEGATIVE OUTLINE--DARK CHAMBER.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Make a negative from the photograph that is to be enlarged, and
+construct for a room that is entirely dark, with the exception of one
+window, a dark inside shutter, with an opening in it the size of the
+negative you intend to use. Place a cleat on each side and at the
+bottom of this opening, so that the negative may be made to slide in
+front of it. Having removed the ground glass from your camera box,
+fasten the latter against the shutter so that the opening comes in the
+centre of the box. You can fasten it with four hooks and eyes, or
+arrange cleats on the shutter and pieces on the box, so that it will
+slide into place. Be sure and have the box come tight against the
+shutter so that the light will be entirely excluded. Place the negative
+over the small opening in the shutter and adjust the camera box; then
+stand the easel with the crayon strainer on it at the proper distance
+to give the required size of the enlargement and focus the image sharp
+on the crayon paper. The strainer must stand at the same angle as the
+shutter; that is, if the shutter is perpendicular then the strainer
+must stand perpendicular also. Then go over the outline and shadow
+lines with the charcoal, after which open the shutter and examine the
+outline and see if it is right. As you are working in the dark you are
+apt to overlook some lines. If you have done so you can close the
+shutter again and make them. If it proves to be all right go over it
+with the crayon point No. 2.
+
+
+
+
+MAGIC LANTERN OUTLINE.
+
+
+[Illustration: McALLISTER MAGIC LANTERN, No. 653, WITH WONDER CAMERA
+ATTACHMENT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+[Illustration: MAGIC LANTERN OUTLINE.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+This is the method I am using at present in my own free-hand crayon
+work, and prefer because it does not require a negative. I use a
+McAllister Magic Lantern, No. 653, with a wonder camera attachment.
+This attachment enables you to make an enlargement from a cabinet or
+card photograph, and to dispense with a negative. If you intend to do
+very much free-hand crayon work I should advise you to get one, as it
+will soon pay for itself. The lantern should be put in working
+condition according to the printed directions that come with it, and
+placed on your table. I use a table six feet long, sixteen inches wide,
+and thirty inches high. Nail to one side of the table, four inches from
+the end, a stick six feet long, one inch wide, and one-half inch thick,
+using two two-inch brads. One end of the stick should rest on the
+floor, care being taken that it stand perfectly perpendicular, a square
+being used if necessary to secure this result. The stick will have a
+length of 42 inches above the table, which will be ample for the use of
+a 25 by 30 strainer. Place the strainer, with the crayon paper mounted
+on it, facing outward on its bottom edge on the table and nail it fast
+to the stick with two brads, letting it stand at right angles with the
+edge of the table with its back towards the lantern, which is at the
+other end of the table. The object of placing the strainer with the
+back towards the lantern is that the image must show through the
+strainer or the outline would be drawn reversed. Draw a charcoal mark
+on the back of the strainer vertically through the centre, and mark the
+proper distance from the top of strainer horizontally where the top of
+the head should come. Now move the lantern until you have it the proper
+distance from the strainer to make the head the size desired, and
+afterwards focus the features sharp and distinct, using the charcoal
+marks for the proper place to make the head, the vertical line coming
+through the centre of the face; then, seated at the end of the table,
+in front of the strainer, make a charcoal outline as in the former
+method.
+
+Of course the magic lantern can be used for producing an outline only
+at night, or in a perfectly darkened room.
+
+The following table will prove a safe guide to follow in determining
+the size of the head for bust pictures. The distance from the roots of
+the hair on the forehead to the bottom of the chin should be:
+
+    For 14 by 17 inch pictures, 4     inches,
+     "  16  " 20   "     "      4-1/2   "
+     "  18  " 22   "     "      5       "
+     "  20  " 24   "     "      6       "
+     "  22  " 27   "     "      6-1/2   "
+     "  25  " 30   "     "      7       "
+     "  29  " 36   "     "      7       " showing the hands.
+
+
+
+
+TRANSFER OUTLINE.
+
+
+For this method an enlargement made from the photograph is required,
+but it needs to be an enlargement of the head only--that is, a 11x14
+inch enlargement of the head will answer for a 25x30 inch crayon
+portrait, and serve as a guide to work from in making the crayon.
+
+Transparent tracing paper (made of fine tissue paper, oiled with
+clarified linseed oil and then dried,) is laid on the enlarged
+photograph, and the outline gone over with a soft lead pencil. The
+tracing paper is then turned and its back is rubbed all over with
+charcoal, when it is laid charcoal side down on the mounted crayon
+paper, and carefully fastened with four thumb tacks. The lines first
+made are then gone over with a sharp pointed lead pencil. When the
+tracing paper is removed a perfect outline in charcoal is found to have
+been made. This should then be gone over with the crayon point No. 2.
+The rest of the portrait is sketched in from the original picture.
+
+
+
+
+THE METROSCOPE
+
+
+Comprises a series of squares accurately engraved upon the finest plate
+glass by machinery. The two plates of glass (of which one form of the
+instrument consists), are ruled for convenience with squares differing
+in size. These are framed and held together by thumb screws, allowing
+sufficient space between them for inserting and securing a picture the
+size of a cabinet photograph. The lines are thus brought into such
+perfect contact with all parts of the photograph so that they appear to
+be drawn on it. One feature of this instrument which renders the square
+system very practical, consists of the division and sub-division of the
+squares by dotted lines and dash lines. The eye naturally divides a
+line or space into halves and quarters, and for this reason the dash
+lines have been designated for quartering the main lines, and the
+dotted lines for quartering the squares thus formed. This gives sixteen
+times as many squares for use as are drawn upon the photograph.
+
+A method based on the same principle as the metroscope, but not
+requiring the use of that instrument, may be pursued, as follows:
+Fasten the photograph to a board, mark the space at the top, bottom and
+sides into one-quarter inch divisions, and drive sharp pointed pins in
+each of the division marks. Taking a spool of white thread run it
+across vertically and horizontally from each pin to the one opposite,
+and you will then have the photograph divided into one-quarter inch
+squares; then, if your enlargement is to be six times the size of the
+photograph, take the mounted crayon paper and divide the sides and top
+and bottom in 1-1/2 inch squares, run thread across the same as for the
+photograph, and then proceed to draw the outline, first in charcoal,
+and afterwards with the crayon. The spaces marked on the crayon paper
+should in each case, of course, be as many times greater than those
+marked on the photograph as the intended enlargement is greater than
+the photograph.
+
+
+
+
+THE PANTOGRAPH.
+
+
+This instrument for enlarging or reducing a picture was invented about
+the year 1603. It consists of four metallic or wooden bars or rules,
+which are perforated by a series of holes (numbered from 1 to 20), and
+connected together by means of an adjustable thumb screw. The
+instrument is provided with a tracing and a marking point, and a screw
+or point which is forced into the drawing board to hold the instrument
+in position. A good pantograph will cost about two dollars; those of a
+cheaper grade are entirely worthless for practical use, while a good
+one will last a life time. A little experience will enable any one to
+learn the use of the numbers.
+
+To employ the instrument select the number on the bars corresponding to
+the number of times the subject is to be enlarged, and connect the
+adjustable ends of the bars so that they intersect at this number;
+secure the pantograph to the drawing board at the left hand side; place
+a piece of manilla paper at the other end of the board and secure it
+with thumb tacks, taking care to smooth all the wrinkles out. Next
+adjust the marking point in the centre of the paper; and secure the
+photograph to the board so that its centre shall be directly under the
+tracing point, which should always touch it. If it does not do so at
+first, place a little weight on the instrument over this point heavy
+enough to bring it in contact with the photograph. Now guide the
+instrument, by taking hold of the tracing point while at the same time
+you watch the marking point. In this manner go over the entire
+photograph, putting in all the details necessary, after which you can
+transfer this outline to the crayon paper by means of the tracing paper
+according to the former method given for transferring an outline.
+
+These are all the best methods of producing an outline. In each of them
+you fasten the charcoal lines with the No. 2 crayon points, and then,
+having brushed off the charcoal, proceed to put in the background for
+your portrait. This you do by any one of the methods given in the
+following pages.
+
+
+
+
+FOUR METHODS OF MAKING THE BACKGROUND.
+
+
+The background can be made first, with the crayon sauce and the use of
+the large gray stump and rubber eraser; second, with the cotton and
+rubber, by using the cotton in applying the crayon sauce to put in the
+dark places in the background, and then finishing with the rubber;
+third, by the use of the line effect; and fourth, by the stipple
+effect, produced by the use of pumice stone. This last I consider far
+superior to any of the others, as it changes the appearance of the
+surface of the paper entirely, and produces an effect altogether
+different from that ordinarily shown in a background. It is also free
+from the mussy, dirty appearance which is produced by the use of the
+cotton and crayon sauce alone. I have been repeatedly asked by both
+amateurs and professionals what kind of paper I use in free-hand
+crayons. The inquiry arose from the fact that treating the paper by the
+fourth method changes the appearance of the surface of the paper and
+also its color. I have never before, however, given to the public, nor
+even to my pupils, the secret of this process. When the pupil has
+mastered it so as to once produce the satisfactory effect of which it
+is capable, he will find that it has all the advantages I claim for it
+and is a secret well worth knowing, in fact, what would be termed one
+of the tricks of the profession, and a very valuable one. I must
+confess, however, that I discovered it by an accident. I had been
+experimenting for years in making backgrounds in order to produce an
+effect that was entirely satisfactory to me, and had failed to reach
+just what I wanted. One day, however, I was at work on a portrait that
+I was very particular with, but the background of which proved quite
+unsatisfactory to me. In despair I threw on a handful of pumice stone,
+intending to entirely remove the background by its aid, when, to my
+surprise and delight, I found I was producing the very effect that I
+had been seeking for years, namely, one rendering the background of a
+different color from the face and giving it a clear, transparent
+appearance, so that the eye seemed to penetrate it, quite different
+from the opaque, almost dirty backgrounds, resulting from the use of
+other methods.
+
+I will treat each of these methods in separate chapters further on.
+
+
+
+
+FREE-HAND CRAYONS AND THOSE MADE FROM PHOTOGRAPHIC ENLARGEMENTS.
+
+
+The principal difference between the appearance of free-hand crayons
+and those that are made over a photographic enlargement, is that in the
+former the shadows are lighter and more transparent. In the matter of
+feeling, however, the free-hand crayon is much more satisfactory to the
+artist for he knows it is all his own work, and that he has not
+depended on the photographic enlargement to help him make the portrait.
+
+After the outline has been drawn, in making a free-hand crayon, the
+portrait is still not yet in the same state of advancement as a silver,
+platinum or bromide enlargement; for the reason that the latter not
+only has the outline, but also the faint impression in light and shade
+of the rest of the portrait. I will, therefore, in the next chapter,
+give instructions for filling in the free-hand crayon up to such a
+degree of light and shade as shall put it in the same condition as the
+enlargement. From that point on the same directions (to be subsequently
+given) for finishing the portrait will apply equally to both the
+free-hand crayons and the enlargements, except that the bromide is
+understood to require special treatment.
+
+The frontispiece was made from a free-hand crayon which was executed on
+Steinbach crayon paper with a magic lantern outline. This shows the
+stipple effect in the face and drapery, and a broken line effect in the
+background. The student will notice the difference between this
+illustration and that facing page 81, which was made from a bromide
+crayon. In the bromide crayon the shadows are dark and strong, while in
+this they are lighter and more transparent.
+
+
+
+
+FILLING IN THE FREE-HAND CRAYON.
+
+
+Having your crayon outline already made on the mounted strainer, lay
+the latter down on the table face up, and proceed to put in a pumice
+stone background with the crayon sauce according to instructions
+hereafter given on page 70 for producing that kind of background,
+making sure that you go entirely over the outline. Then place the
+strainer on the easel, and after putting in the cloud effect take the
+chamois block in your left hand, and, with a tortillon stump in your
+right, put in the shadows in a strong, clear and decided manner.
+Commencing on the hair, put in the broader shadows first, working the
+stump in the same direction that the lines of the hair go, and endeavor
+to give the soft flow that the hair should have, avoiding making lines
+or any attempt to make individual hairs. The eyebrows should then be
+put in in the same way as the hair, care being taken to preserve the
+form; then the eyes, beginning with the upper lids, putting in the
+lines between the eye and the lid, and also the second line forming the
+lid. Do not line in the lower lid between the eye and the lid, but put
+in the under line of the lower lid. Next form the pupil, placing it in
+the centre of the iris, making it very dark; then the iris, noticing
+in particular that the upper lid throws a shadow on the top of the
+iris; then the shading of the nose and nostrils and shadows under the
+nose. The mouth is the next important feature, and, as there are no
+decided lines in it, you must put in none, but have the degrees of
+light and shade form the mouth. Begin with the corners, and notice
+carefully that here lies nearly the whole expression of the lower part
+of the face; next treat the central point of the lips and complete the
+mouth; then make the shadows around the mouth and chin, after which,
+put in the ears, and then model up the face, making all the shadows
+broad and decided, leaving the details for the finishing touches, but
+being careful in the modeling to retain all of the values. Next put in
+the clothes with the large stump, sweeping it gently across the lights
+in different directions, allowing the lines to cross each other
+occasionally. Carefully preserve the form in this, giving the proper
+shape to the lapels of the coat or folds in the dress, and to the arms.
+Avoid detail and do not carry the clothes as far down as you want them
+to show in the finished picture. Lace work should not have too much
+detail, but be made somewhat indistinct; only show a few of the forms
+out sharp and defined, giving the pattern.
+
+
+
+
+LINE EFFECT.
+
+
+This can be produced in crayon portraits made over a photographic
+enlargement, or in free-hand crayons after the filling in just
+described has been done. 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 represent 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, as that is the way the
+grain of the board would be. If we should take the same board and bend
+it in the form of a circle, we would in order to represent the board in
+that position, draw lines running in a circle to correspond with the
+grain and position of the board. The idea to be impressed is, that when
+we want to represent an object with crayon and that object is flat, we
+draw straight lines to represent its surface; and when the object is
+round or partly so, we draw curved lines, conforming them 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 light places of an object we will see its grain or
+texture, and that grain or texture will gradually become obscured as it
+enters the shadow until it is entirely lost in the deepest shadows.
+This grain will not show in nature as decided where the strongest
+lights are as it will in the half shadows; and, therefore, in the
+crayon representation the grain effect should show more decided in the
+half shadows. If your crayon is not true in this respect, it will
+appear coarse and fail to please as a work of art on account of its
+falsity to nature. The line effect is produced throughout the whole
+picture, in the background, face and dress.
+
+
+
+
+STIPPLE EFFECT
+
+     _On a photographic enlargement or a free-hand crayon after
+     the outline and masses of light and shade have been made
+     with the tortillon stump, as explained on page 55._
+
+[Illustration: LINES TO PRODUCE THE STIPPLE EFFECT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+When putting in a background with the pumice stone as described in the
+fourth method on page 70, treat the whole surface of the paper with
+pumice stone in order to raise the grain of the paper, but go over the
+face lightly. Then place the strainer on which the portrait is mounted
+on the easel, and put in the shadows with the tortillon stump,
+producing the lights with the eraser; finish with the No. 0 crayon. But
+instead of producing a diamond effect, as you did with the lines, you
+now want to have a stipple effect, which is that of small black and
+white spots; the paper producing the white spots, and the crayon the
+black ones. To produce this make the lines in the shadows and
+half-shadows, but not in the light places, in the manner shown in the
+illustration on the following page; instead of crossing them to form
+diamonds, using short lines and varying their direction and
+intersection with reference to the ultimate effect; then rub them with
+the end of the finger. In finishing, gradually divide up all the small
+light parts with the pencil and the dark with the eraser: if it is
+necessary at any time to rub the crayon, use the end of the finger
+instead of the cotton. Be careful not to get too much crayon on the
+paper, that is, you must not "force up" or be compelled to make the
+shadows too dark by the use of the crayon; they should be made as dark
+as necessary with the stump before finishing. Should you find in
+finishing that they are not dark enough, use the stump to make them
+darker, as the pencil is only intended to give the stipple effect, and
+should be used in a very light and delicate way. Continue the process
+of finishing according to the directions hereafter given for bromide
+enlargements. The foregoing illustration is the first or ground work
+for the stipple effect produced by the aid of the fingers. To obtain
+this effect without rubbing with the fingers, make small black dots,
+instead of the lines shown above, until the desired effect is produced.
+The latter method results in a coarser stipple effect, but it requires
+a much longer time and is more difficult than the former.
+
+
+
+
+BACKGROUNDS--GENERAL PRINCIPLES.
+
+
+Always commence the portrait by putting in the background. Among the
+four different methods which I have given, the student can make his own
+selection. For myself, I prefer the last two mentioned.
+
+There can be no definite rule given for the lights and shadows in the
+backgrounds, as every portrait will need a characteristic background
+adapted to the subject. There should always be a nice disposition of
+light and shade, the light coming against the dark side of the face and
+the dark against the light side, and generally a cast shadow. What this
+is may be learned by setting a cast (or any other object) near the
+wall, letting the light strike it at an angle of 90 degrees, and
+noticing the size and position of the shadow thrown on the wall. The
+cast shadow in your background must not be too near the head, as
+simplicity should be one of the principles of the background, and this
+can only be attained by breadth of light and shade. The background is
+of secondary importance, and should not intrude itself on the portrait
+in its effect of lines or light and shade. Backgrounds for half or full
+length figures need especial study in their effect of lines, and one
+who intends to succeed in making them properly should study linear
+composition in Burnet's essay on Composition,[A] especially the
+following passages. "Composition is the art of arranging figures or
+objects so as to adapt them to any particular subject. In composition
+four requisites are necessary--that the story be well told, that it
+possess a good general form, that it be so arranged as to be capable of
+receiving a proper effect of light and shade, and that it be
+susceptible of an agreeable disposition of color. The form of a
+composition is best suggested by the subject or design, as the fitness
+of the adaptation ought to appear to emanate from the circumstances
+themselves; hence the variety of compositions.
+
+"To secure a good general form in composition, it is necessary that it
+should be as simple as possible. Whether this is to be produced by a
+breadth of light and shade, which is often the case with Rembrandt,
+even on a most complicated outline, or by the simple arrangement of
+color, as we often find in Titian, or by the construction of the group,
+evident in many of Raphael's works, must depend upon the taste of the
+artist. It is sufficient to direct the younger students to this
+particular, their minds being generally carried away by notions of
+variety and contrasts.
+
+"In giving a few examples of composition, I have confined myself to the
+four simple and principal forms, not only from their being most
+palpable, but also from their possessing a decided character, which is
+at all times desirable. To those who imagine that such rules tend to
+fetter genius, I shall merely quote Sir Joshua Reynolds, whose works,
+if properly understood, render all other writings on the subject of
+painting superfluous: 'It must of necessity be that even works of
+genius, like every other effect, as they must have their causes, must
+likewise have their rules. It cannot be by chance that excellencies are
+produced with any constancy or any certainty, for this is not the
+nature of chance; but the rules by which men of extraordinary points,
+and such as are called men of genius, work, are either such as they
+discover by their own peculiar observations, or are of such nice
+texture as not easily to admit being expressed in words; especially as
+artists are not very frequently skillful in that mode of communicating
+ideas. Unsubstantial, however, as these rules may seem, and difficult
+as it may be to convey them in writing, they are still seen and felt in
+the mind of the artist, and he works from them with as much certainty
+as if they were embodied, as I may say, upon paper. It is true these
+refined principles cannot be always palpable, like the more gross rules
+of art, yet it does not follow but that the mind may be put in such a
+train that it shall perceive, by a kind of scientific sense, that
+propriety which words, particularly words of unpractised writers such
+as we are, can but very feebly suggest.' (Sixth Discourse)."
+
+FOOTNOTES:
+
+[Footnote A: Essays on Art, by John Burnet, New York, E. L. Wilson.]
+
+
+
+
+FIRST METHOD OF MAKING THE BACKGROUND--STUMP EFFECT.
+
+
+To produce the stump effect, rub the chamois block in the box of crayon
+sauce, and then with the large grey paper stump commence by putting in
+the darkest parts and the cast shadow. Use the broad end of the stump,
+moving it over the surface of the paper with an even and uniform
+pressure, so that you will not make any dark spots. Make broad lines
+and have them cross each other so as to form diamond shaped spaces,
+using considerable care and a very light touch in the lighter places.
+Finish with the large rubber eraser, cutting it so that it will make
+white lines about the same width as the black lines made with the
+stump. Have these light lines run into the dark ones in some places,
+and use the rubber so as to produce a dashing effect.
+
+
+
+
+SECOND METHOD OF MAKING THE BACKGROUND.
+
+
+Take a handful of cotton batting, rub it in the box of crayon sauce,
+and then on a piece of paper before applying it to the crayon paper to
+make the background, being careful to avoid rubbing harder in some
+places than others, as dark spots are likely to be caused in that way.
+Commence by rubbing in close to the face and work out towards the edge
+of the paper. Let the darkest part be closest to the face, shading out
+in the form of a circle about six or eight inches from the face,
+according to the subject, the upper line of the arc coming a little
+above the head. Then make the cast shadow and finish with the large
+rubber eraser, putting the lights, or cloud effect, as it is called, in
+the background. When doing this, place the strainer high enough on the
+easel to bring the centre of the picture on a level with your eyes,
+then standing in front of it and about six feet off, decide upon your
+plan of light and shade. After you have put in the first of the lights,
+step back to the former position, and see if it gives the proper
+effect. Continue this method of working until the background is
+entirely completed.
+
+
+
+
+THIRD METHOD OF MAKING THE BACKGROUND--LINE EFFECT.
+
+
+With the cotton and crayon sauce as in the preceding method, put in the
+dark places and cast shadow, but not as dark as you want them when
+finished; then with the crayon point No. 2 put in three sets of lines
+thus:--
+
+[Illustration: BACKGROUND. LINE EFFECT.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Do not carry out the lines as far as the background will extend when
+finished. The lines should be one-quarter of an inch apart in life-size
+portraits, and a little closer in smaller sizes. As a rule the lines
+are a little further apart in the background than in the face. These
+lines need not be horizontal, crossed by oblique ones at obtuse angles,
+but they can be curved lines, if desired, provided they cross each
+other so as to leave diamond shaped spaces. After the lines are in rub
+a piece of clean cotton over them all, using pressure enough to subdue
+them to the degree of indistinctness desired; then finish with the
+large eraser and crayon point No. 2, putting in the cloud effect. Such
+lines as show too prominently you subdue with the nigrivorine eraser.
+If there are any light places, make them dark with the crayon.
+
+The background should be very indistinct on the edges, and be vignetted
+in the shape of an oblong, having some very light clouds above and on
+either side of the head. Let there be a nice contrast between the face
+and the background, having light come against dark and dark against
+light; that is, when one side of the face is dark and one side light,
+have the background light against the dark side, and dark against the
+light side; when light and shade are about equal on both sides of the
+face, have the background about the same shade on both sides, without
+too decided a cast shadow. If you have a subject that has gray hair,
+have the background darker than it would be otherwise. The background
+should never be darker at any place than the shadows in the face, and
+close to the face it must be a shade between the light and half
+shadows. Never resort to the practice of leaving the background white,
+as this will only give a hard, stiff appearance. Clean off the outside
+edges of the background with a clean piece of cotton and the pumice
+stone.
+
+
+
+
+FOURTH METHOD OF MAKING THE BACKGROUND--STIPPLE EFFECT.
+
+
+Lay a piece of manilla paper on the table about twelve inches larger on
+each edge than your strainer, placing the strainer on it face up; rub a
+handful of cotton batting first in the crayon sauce and then on the
+manilla paper to remove any foreign substance. Then apply the cotton
+with a circular motion to the crayon paper to make the background
+desired. Next sprinkle the pulverized pumice stone over the entire
+background, and go over this with the fingers in a circular movement,
+using them flat from the second joint to the ends; then lift the
+strainer up, and, resting it on the edge, jar off all the pumice stone,
+and when this is done, lay it down again and rub it off with a clean
+piece of cotton. Now rub the fingers in the crayon sauce, keeping them
+flat so that it will adhere evenly to them, and go over the background
+lightly as when rubbing in the pumice stone and you will produce a nice
+stipple effect. Finally, place the strainer on the easel, and finish
+according to the directions given for finishing crayons made on bromide
+enlargements.
+
+Of course it will need considerable experience before you can succeed
+in doing this perfectly, but patience and perseverance will ultimately
+accomplish the desired end. There are two matters of importance to be
+borne in mind in making these backgrounds--first, do not have any
+small, hard pieces of crayon on the cotton when you rub it on the
+paper, and second, use the fingers in as flat a position as possible,
+for if you do not have them flat down on the paper you are likely to
+make dark spots in the background.
+
+
+
+
+FACE--LINE EFFECT.
+
+
+[Illustration: LINE EFFECT FOR FACE.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+Commence on the hair with the crayon point No. 2, and put in all the
+shadows and half-shadows, carefully preserving the lines of direction,
+but avoid working over the lights more than necessary; then with the
+crayon point No. 1 strengthen all the shadows about the eyebrows, the
+eyes, the mouth, the chin and the ears. Next put the lines in the face.
+The following illustration shows the lines before they are rubbed. It
+will be well to remember that only two sets of lines are used in the
+face, as shown in the illustration, and the same number in the dress,
+while there are three sets required in the background. The lines in the
+face should be a little closer than those in the background, while
+those in the dress are about the same as those in the background.
+
+In the effect of the lines in the face lie the chief merit and beauty
+of this method of crayon work. When properly drawn, the lines represent
+and give the grain of the flesh in a very beautiful broken effect. They
+are drawn so as to leave spaces shaped like diamonds, but in the
+finishing should be so treated as to lose their regularity, and to have
+the effect of "broken diamonds." If you will examine the back of the
+wrist joint when your hand is bent slightly backward, you will see more
+clearly what is meant by the term "broken diamonds" in the slight
+ridges which show the grain of the flesh. Begin with the forehead,
+using the crayon point No. 1, and put in one set of lines straight
+across, but curving downwards as the forehead commences to round off
+towards the hair at the sides; then one more set of lines in the
+direction that will produce the diamond spaces, continuing these two
+sets of lines throughout the face. These lines intersecting at the
+proper angles will indicate the grain of the flesh, if the line of
+direction be carefully followed. Remembering that the face is not a
+flat surface, make the lines darker in the shadows and lighter as they
+approach the lights. The high lights on the forehead, the nose, the
+highest point of the chin, and around the mouth, should, however, have
+no lines over them.
+
+Having put in these lines take a small handful of cotton, and rub the
+hair and face over both the high lights and shadows, the motion
+following the line of direction; that is, being straight across the
+forehead, curving towards the hair at the sides, and circular on the
+cheeks. Care should be exercised not to rub too hard, it being a common
+fault of the beginner to rub the paper too much, and produce a dirty
+effect. The lines should be merely rubbed until they are somewhat
+blurred and indistinct. Remember that the crayon portrait is made on
+the surface of the paper, and not rubbed into it. After it has thus
+been treated with the cotton, go over the shadows with the crayon point
+No. 1, and rub again with the cotton.
+
+The face of the crayon will now be about three shades darker in the
+lights than it should be when finished, and not quite dark enough in
+the shadows. Finish it with the No. 0 crayon and nigrivorine eraser,
+using the latter wherever a lighter effect is required; also break up
+the regularity of the diamond spaces, and whenever a line shows too
+prominently subdue it with the eraser.
+
+If you would succeed in making good crayon portraits, it will be
+necessary for you to cultivate a light touch with the crayon in
+finishing.
+
+The eraser is one of the principal instruments employed in making
+crayon portraits, and is used the same as if it were a crayon pencil,
+that is, on that principle, the difference being that you make white
+lines with it instead of black ones. Keep the eraser to a sharp point
+in the following manner: take a piece of emery paper about three inches
+square, and place it in the left hand between the index and second
+fingers, holding the fingers about half an inch apart, and bending the
+paper to fit between them; then rub the eraser in the crease thus
+formed, holding it at an acute angle. Sometimes it is necessary to
+sharpen the eraser with a knife or a pair of scissors before rubbing it
+on the emery paper. In working with the eraser on the crayon paper do
+not rub hard enough to remove all the crayon from the surface of the
+paper, except in producing the high lights and the white of drapery.
+Notice in particular in finishing the hair that where it touches the
+forehead there are no lines, as the light and shade should blend
+together so nicely as to leave no decided line between them.
+
+
+
+
+DRESS--LINE EFFECT.
+
+
+[Illustration: LINE EFFECT FOR DRESS.
+
+_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
+Co._]
+
+The above illustration represents the effect of the lines in the dress.
+In putting them in let every fold, sleeve and lapel have lines of its
+own, that is, lines differing in direction so as to discriminate it
+from the other parts of the clothing. These distinctive lines will lose
+themselves in the wrinkles, in shadows, and in the next fold, where the
+lines will have a different direction. The illustration is very crude,
+as it shows the lines before they are rubbed with cotton; after that
+process they have quite a different appearance. In men's clothing the
+lines may be drawn a little farther apart than in the treatment of the
+finer texture of ladies' garments. After you have put in the lines with
+the crayon point No. 2, go over them with a piece of cotton previously
+rubbed in the crayon sauce, and then complete this part of the work by
+the use of a dull eraser for the smaller lights, and the chamois for
+the broad lights.
+
+The crayon is now in good condition for finishing, which you will
+proceed to do by the use of No. 0 Conte crayon and the nigrivorine
+eraser, softening the lights with the former and the shadows with the
+latter, until you have the whole portrait subdued, and no decided lines
+of light and shade. Of course throughout these processes you must pay
+close attention to all the characteristic points in the likeness, so
+that the crayon will be a true and life-like reproduction. Do not sit
+too close to the crayon in finishing; if you do, you will be
+disappointed when you come to look at it from a slight distance, and
+will not find at all that enchantment which distance is said to lend to
+the view, as the crayon will disclose a spotty effect, and too great a
+contrast between the lights and shadows.
+
+
+
+
+BROMIDE CRAYONS.
+
+
+In the bromide enlargement, while the paper has to undergo all the
+different manipulations of development, fixing and washing, that the
+platinum and silver enlargements do, yet the gelatin is not removed,
+and, when dry, remains as a strong sizing to the surface of the
+paper--in fact, so strong, that in some of the different kinds of
+bromide paper the surface is very nearly as hard as glass, and,
+therefore, the crayon cannot be used upon it with good results until it
+has received a special treatment, as the crayon would only make a black
+scratchy mark.
+
+It has been said that the bromide paper and enlargement were entirely
+different from the platinum or silver enlargement and the crayon paper.
+While there is not as much difference between the bromide and other
+enlargements as there is between the former and the crayon paper, there
+should be this difference: the silver or platinum enlargement should
+only be printed strong enough to give the form and the larger details
+in the negative, while the bromide enlargement must be as nearly a
+perfect photograph as can be produced from the negative.
+
+[Illustration: FROM CRAYON EXECUTED OVER A BROMIDE ENLARGEMENT MADE
+FROM THE ORIGINAL NEGATIVE--STIPPLE EFFECT THROUGHOUT. BY J. A.
+BARHYDT.]
+
+From the fact that, on account of the difference in the surface of
+the paper, there cannot be as much crayon put on the bromide
+enlargement as on the other kinds of paper, and that, therefore, it
+cannot be strengthened to the same degree in the shadows without
+spoiling the nice transparent effect that a bromide should have there,
+it follows that the best bromide crayons are those on which the least
+crayon is used to produce the desired effect. The bromide paper, on
+account of the gelatin surface, will not take the crayon from the stump
+as readily as the other kinds of paper; but after the surface has been
+treated with the pumice stone this objection is removed, and the paper
+can be worked on with the stump readily. I can say from my own
+experience, that for producing a crayon over a photographic enlargement
+with the stipple effect, it has no equal in the beauty of finish and
+rapidity of execution.
+
+The illustration facing this page was made from a crayon executed over
+a bromide enlargement from the original negative. Better results can
+always be reached in a bromide enlargement when it is thus made from
+the original negative. The student will notice in particular the
+stipple effect in the reproduction.
+
+
+
+
+FINISHING BROMIDE ENLARGEMENTS.
+
+
+Examine the enlargement mounted on the strainer, looking at it from the
+side, to learn if there is any starch on the surface of the paper
+before commencing work on it. If there is any, carefully wash it off
+with a sponge and some clean water, and then set the enlargement aside
+until it has thoroughly dried. Then lay it down on the table with a
+piece of manilla paper under the strainer about 12 inches longer on
+each edge than the latter; take a handful of cotton, first rubbing it
+thoroughly in the crayon sauce, then on the manilla paper, and finally
+going over the surface of the enlargement with it in a circular motion.
+Then sprinkle pumice stone over the portrait, and using the ends of the
+fingers flat, rub it over the entire surface of the paper. This
+treatment cuts through the gelatin surface and prepares it for the
+stipple effect. Now stand the strainer on its edge and jar the pumice
+stone off, after which lay it down on the table, and with a piece of
+clean cotton lightly brush off the surface; then, having rubbed the
+finger ends in the crayon sauce, go over the entire surface of the
+enlargement, holding them flat, and you will produce a fine stipple
+effect.
+
+If the shadows need to be darker, use a little more crayon on the
+fingers; also put the cast shadow in the background, applying the
+crayon with the fingers.
+
+Before proceeding further it will be well to note that the crayon is
+entirely on the gelatin surface, and that the photographic image is on
+this surface also, and not on the paper itself; therefore, under the
+image and the gelatin you have the pure white paper. I call attention
+to this in order that you may work with a better comprehension of the
+materials you are using.
+
+You now have four surfaces. First, the muslin cloth of the strainer;
+second, the starch; third, the white paper; fourth, the gelatin.
+
+Knowing that the gelatin has a hard surface, you are prepared to learn
+that the crayon will come off from the bromide much more easily than
+from the other kinds of paper. These had but three surfaces, while the
+bromide has a fourth--a very hard one--between the crayon and the
+paper, and on account of its hardness it will need different treatment
+in its manipulation. Therefore you use the fingers in applying the
+crayon sauce, and, when it is necessary to make a place light, you do
+so with the cotton, chamois or eraser. Should you find it necessary to
+make a place white where it is dark, you can remove the photograph
+entirely, as this is on the gelatin, scraping it off down to the white
+paper with a sharp knife.
+
+Resuming the process of finishing, place the enlargement on the easel
+and put in the cloud effect with the large eraser, then lay it on the
+table again, and clean it off about four inches from the edge all
+around with pumice stone and a fresh piece of cotton where you have
+rubbed with the eraser, and blend the background into this four inch
+space. Return the enlargement to the easel again, and with the broad
+eraser clean up the lights throughout, and with the cotton and pumice
+stone blend them into the shadows; then with the peerless stump, crayon
+sauce and fingers strengthen the larger shadows, using the nigrivorine
+eraser when necessary to clean up the lights, and the tortillon stump
+for the work in the smaller shadows, if it is required to make them
+darker. Now with the No. 0 crayon finish the face by completing the
+stipple effect in the patches of light and shade. You will have a good
+guide in the background for finishing and giving the stipple effect, as
+there you will have this stipple effect quite perfect, especially in
+the light places. This finishing with the No. 0 crayon is the nicest
+part of the work, and when doing it you must keep in mind that you are
+putting in the stipple effect, and that alone; that is, the portrait at
+this stage is supposed to be very nearly right in light and shade and
+expression, and it should not be necessary to strengthen it in the
+shadows by using the No. 0 crayon. You are to cut up or divide the
+portrait into small black and white spots, but do not take out white
+spots with the No. 0 crayon that are larger than the white spots
+desired in the stipple effect; these light places must be cut into
+smaller light spots. If you should take out these white spots (and this
+is an error you must be very careful to avoid), you would produce an
+effect of large dark and white spots that would be entirely wrong, the
+real process being to divide large white and dark spots into smaller
+ones of the same color.
+
+This stipple effect should be worked all over the face with the
+exception of the highest lights, and even these will very often need to
+be worked over except at the single points of the very highest lights.
+In this work you now have an opportunity to demonstrate the theory of
+contrast. Sometimes the enlargement is too dark in the shadows, and
+although you require to have them lighter you have already removed all
+the crayon from the surface, and it still remains too dark. The crayon
+pencil is many shades darker and blacker than the shadows, yet you can
+by its use make them lighter by putting in the stipple effect, as the
+dark touches of the pencil in their contrast with the shadow color
+under them cause them to appear lighter. This is a very essential
+principle to remember in crayon portrait work: that the effect of dark
+against light is to make the light appear lighter, and the dark darker.
+After the face and hair are completed as above, then finish the
+clothes with the peerless stump, eraser and fingers. If there are any
+very dark strong shadows--for instance, under the collar or around the
+neck--put them in with the velours crayon and subdue them with the
+fingers. When at work on the clothes at the bottom of the portrait do
+not finish straight across, but in a circular way. Next taking up the
+background you will discover that there are some large patches of light
+and shade that must be changed and made the required color to
+correspond with the adjoining surface; lean back as far as possible in
+your chair, and join these places together with the pencil and eraser;
+then in the same position finish the face by removing any light or dark
+places, strengthening the eyes, nose, mouth, and any point of the
+likeness requiring a final touch. Remove with the point of your knife
+any small black spots such as sometimes show in the photograph, and
+then with a fresh piece of cotton and pumice stone clean off the edges
+of the crayon all around.
+
+Before regarding the picture as quite complete, examine it by holding
+it at right angles to the light, to see if there are not some marks of
+the crayon pencil that show too prominently. These can be subdued with
+the ends of the fingers. Sometimes in finishing with the No. 0 crayon
+the paper will seem to be gritty so that you can hardly work on it.
+The difficulty is that some of the pumice stone has adhered to the
+surface of the paper. This can be disposed of by rubbing it with the
+fingers. It should be remembered that the pumice stone must be entirely
+removed from the whole surface of the paper, as otherwise it will
+settle in the crayon, and give a dirty gray effect. When, as sometimes
+happens in commencing the portrait, dark or white spots or streaks show
+themselves, do not pay any attention to them until you have entirely
+finished the crayon, then if they are dark, make them the proper shade
+with the eraser, and if light, with the crayon.
+
+
+
+
+MONOCHROMES.[B]
+
+
+These are portraits in one color on porcelain, glass or any hard
+material that has first been coated with gelatin and then photographed
+on. First treat the whole surface with pumice stone as directed for the
+bromide paper, afterwards go over it with the crayon and cotton. Then
+put in the cloud effect in the background, and clean off the lights in
+the face, hair, and clothes with the eraser; next put in the
+half-shadows with the peerless stump; then with a solution of India ink
+darken the stronger shadows throughout the portrait--in the eyes, nose,
+mouth and eyebrows, and finally in the hair. Finish the face with the
+No. 0 crayon and the 4 H. Faber's lead pencil according to directions
+given for finishing bromide enlargements. The Faber pencil is used
+almost exclusively throughout the face. Very nice effects of strong
+light can be made on porcelain by scraping through the gelatin surface
+with the knife. This process is specially adapted to making pictures of
+smaller size, say 10x12, or 11x14 inches, as it produces a very soft
+and delicate effect.
+
+FOOTNOTES:
+
+[Footnote B: For photographic process, see the American Annual of
+Photography and Photographic Times Almanac, 1888.]
+
+
+
+
+VALUES.
+
+
+The matter of values enters into the essential quality of every work of
+art, and especially of a portrait. It is the truth of their rendering
+that will give a faithful likeness. By the term values is meant the
+relations of light and shade to each other. This subject has been so
+admirably treated by John Burnet in his essay entitled "Practical Hints
+on Light and Shade,"[C] that I give his observations on this point.
+
+"Before proceeding to investigate light and shade in their various
+intricate relations, it may be proper to notice a few of the more
+palpable and self-evident combinations; and for the better
+comprehending of which I shall divide them into five parts, viz.:
+Light, half-light, middle tint, half-dark and dark. When a picture is
+chiefly composed of light and half-light, the darks will have more
+force and point, but without the help of strong color to give it
+solidity it will be apt to look feeble, and when a picture is composed
+mainly of dark and half-dark the lights will be more brilliant; but
+they will be apt to look spotty for want of half-light to spread and
+connect them, and the piece be in danger of becoming black and heavy.
+And when a picture is composed chiefly of middle tint, the dark and
+light portions have a more equal chance of coming into notice, but the
+general effect is in danger of becoming common and insipid. Light and
+shade are capable of producing many results, but the three principal
+are relief, harmony and breadth. By the first the artist is enabled to
+give his work the distinctness and solidity of nature; the second is
+the result of a union and cement of one part with another; and the
+third, a general breadth, is the necessary attendant on extent and
+magnitude. A judicious management of these three properties is to be
+found in the best pictures of the Italian, Venetian and Flemish
+Schools, and ought to employ the most attentive examination of the
+student, for by giving too much relief he will produce a dry hard
+effect, by too much softness and blending of the parts, wooliness and
+insipidity, and in a desire to produce breadth of effect he may produce
+flatness."
+
+The student should make a careful study of the values, as upon these
+will depend the entire effect of the portrait and its fidelity as a
+likeness; and the absence of these qualities of rendering light and
+shade are one of the marked features of the work of amateurs, as they
+are apt to make their shadows too dark and their lights too light. You
+should compare the portrait with the photograph you are working from,
+and preserve the same contrasts between the lights and shadows in order
+to produce satisfactory results. The best way of examining your work is
+by the use of a mirror. To the student the mirror is his best critic.
+It is before this silent observer that he submits his work with the
+certainty of receiving an honest criticism. At every step of your
+progress look at your work in a good mirror, as here it is changed
+about, the left side being the right side, and no error will escape
+detection. Sometimes you will see that what appeared true was in
+reality false, what seemed graceful in contour was distorted; here an
+eye which you thought was looking at you quite straight now mocks you
+from the glass in manifest obliquity; the mouth, which you thought had
+a pleasant expression, now looks as disdainful as can be. And so all
+through your work you will be startled; you will doubt the mirror.
+Doubt it not; your work is false. If you will be convinced show it to
+some competent artist, and he will confirm the judgment of the
+impartial mirror. Experience will soon teach you to put such reliance
+on its never capricious council that you will follow its suggestions
+implicitly, and, when your work is altered, the result will satisfy you
+invariably, that, as the proverb says of two heads, so two images are
+better than one. When you have come to this conclusion there is not a
+beauty of eighteen who will consult her glass (though it is true for a
+somewhat lighter purpose,) more eagerly, more devoutly, more
+frequently, or finally, we hope, with more triumphant satisfaction than
+will you.
+
+FOOTNOTES:
+
+[Footnote C: Essays on Art by John Burnet, New York, Edward L. Wilson.]
+
+
+
+
+STUDIO.
+
+
+The amateur is not to consider the selection of his studio or work-room
+of minor importance; the perspective, coloring, and the effect of the
+portrait will all depend, in a great measure, upon the situation and
+dimensions of the studio. It may be said in a general way that the
+larger the apartment the better. To secure the effect which it is
+essential to produce, there should be space enough left behind the
+artist to permit him to step back from six to ten or twelve feet to
+accurately view and see the effect of the portrait. I cannot urge too
+strongly upon the amateur the usefulness of frequently viewing his work
+from a distance. I would gladly save him the disappointment and chagrin
+which I have myself experienced, when having neglected this precaution,
+I have quite finished a portrait only to find it thoroughly
+unsatisfactory when looked at from a greater distance than that at
+which I had worked.
+
+You should choose a room with a north light if possible; if that is not
+available then one with a south light, and the room should be as near
+the top of the house as possible. Let the light be arranged so as to
+strike the easel at an angle of 90 degrees, and if it is a side light
+darken the lower half of the window. Do not have the side walls white,
+they should be a neutral shade; reddish is the best. For work with
+water colors or India ink you need a stand, and be sure and set it so
+that the light will be at your left when you work. Keep the studio as
+free from dust as possible, and when you have finished working for the
+day wash your brushes and place the corks in the water color bottles,
+so as to exclude the dust from them. For crayon work also set the easel
+so that the light is at the left hand.
+
+A word in regard to selecting materials. I have already spoken in
+regard to the selection of photographs for coloring. As to
+brushes--camel's hair will cost only about a third as much as sable,
+and will answer every purpose for beginners; the fine sable should be
+procured after the pupil has advanced sufficiently. In choosing a brush
+for water colors, dip it in a cup of water and draw it over the edge of
+the cup; if it has a little spring to it, and comes to a point readily
+without any of the hair straggling, it is all right; if not, reject it.
+Winsor and Newton's Chinese White is the best white paint. For mixing
+the colors you can get a slant with eight divisions, or a nest of
+saucers. In selecting glass for mounting pictures choose that which is
+free from blisters.
+
+
+
+
+FRAMING.
+
+
+The following directions in regard to framing will, I hope, be found
+advantageous. When framing with a passepartout mat, always use
+
+    For a 16x20 portrait an 18x22 frame,
+     "    18x22    "     "  20x24   "
+     "    20x24    "     "  22x26   "
+     "    24x29    "     "  25x30   "
+
+I make a life-size portrait 25x30 on a 24x29 strainer. The reason for
+using a larger frame than strainer is this: that it invariably happens
+that the head of the portrait will not come in exactly the proper place
+in the opening of the passepartout, and by having the frame two inches
+larger each way you will be able to bring the head wherever desired in
+this opening. When placing the picture in the frame, lay the latter
+face down on a table and put in the glass, which should have been
+perfectly cleaned; lay in the passepartout and fasten it with small
+brads. Then lay the crayon down on the table face up and turn the frame
+over on it, and after you have it in the proper place, draw the picture
+and frame partially over the edge of the table, and from underneath
+mark the back of the passepartout where the edges of the picture come;
+then turn the frame and picture over so that it shall be face down. Now
+cut eight strips of old tin-type metal one-quarter of an inch wide and
+three inches long, making holes at each end of them for the tacks, and
+with these strips fasten the picture in its place by tacking one end of
+each to the strainer and the other end to the frame. Also cut a piece
+of heavy manilla paper the size of the frame, lay it on a board, dampen
+it with a sponge, apply starch paste around each side and the ends for
+a space of six inches, and lay it over the back of the picture and
+frame, pressing it down on the latter; then set it away to dry. This
+will make a neat smooth back which will exclude moth and dust from the
+portrait.
+
+
+
+
+PASSEPARTOUT MOUNTING.
+
+
+The following method will be found useful, especially if you want to
+exhibit a crayon without the expense of framing it. Lay on the mounting
+board a piece of heavy manilla paper somewhat larger than the picture,
+then put the crayon on this face up, next the passepartout, and last
+the clean glass. Mark the size of this on the paper, and then, having
+removed the glass, crayon and passepartout, cut the paper enough larger
+than the marks to allow it to come up one inch all around over the
+edges of the glass; next dampen the paper, and apply the starch paste
+to its edges about six inches all around, then lay the crayon,
+passepartout and glass back where they were on the paper, and bring the
+latter up, lapping it over the face of the glass; cut the corners out
+so as to bring them over properly; rub the edges down thoroughly on the
+glass, and with a ruler and knife trim off the paper, allowing
+one-quarter of an inch margin; then set away to dry. This will put the
+crayon in good condition to be exhibited, and will thoroughly protect
+it.
+
+
+
+
+Transparent Liquid Water Colors for Coloring Photographs.
+
+[Illustration]
+
+
+
+
+TRANSPARENT LIQUID WATER COLORS FOR COLORING PHOTOGRAPHS
+
+
+_Materials Required in Their Use._
+
+    A good photograph, an engraving or photogravure mounted on
+      card-board
+    Camel's hair brushes, Nos. 3 and 5,
+    Sheet of blotting-paper,
+    Small sponge,
+    Clean white cloth,
+    Cake of Chinese white, Winsor and Newton's water color,
+    A divided slant or nest of small dishes for holding the color when
+      mixed,
+    Box transparent liquid water colors,
+    Stick of India ink,
+    Box pulverized pumice stone,
+    Two tumblers for water.
+
+It has passed into a proverb that he is a bad workman who complains of
+his tools. It is certain that good ones simplify work and give better
+results. One of the most important things for successful art-work is to
+have at hand the proper materials and good instruments. In their
+selection do not follow a penny wise and pound foolish policy, but get
+the best you can; and these you will often find not too good.
+
+
+
+
+THEORY OF COLOR.
+
+
+The principles connected with coloring should be understood if one
+desires to produce the most pleasing and harmonious effects in
+painting. The three colors, red, yellow, and blue, with the white of
+the paper, are equal in theory to all the requirements of art in its
+true relation to color. Red, yellow and blue are called primary colors;
+that is, we cannot produce these colors from the combination of any
+others. Orange, purple and green are called secondary colors, and are
+produced by the combination of the primary colors. By the mixture of
+red and yellow we obtain orange, from red and blue, purple, from yellow
+and blue, green. The tertiary colors--broken green, gray and brown--are
+produced by the mixture of the secondary colors. From orange and purple
+we obtain brown, from orange and green, broken green, and from purple
+and green, gray. The three primary colors must always be present in a
+picture to produce harmony. Colors are divided into what are called
+warm and cold colors, the yellow and red being termed warm, and the
+blue cold. Yellow and red produce light and warmth, and it is
+impossible to produce coolness without the use of blue. In painting we
+use the three terms, light, shade and color, because they best express
+the qualities of color. Light is expressed by yellow, shade by blue,
+and color by red. While red is particularly designated as color, we
+must not forget the claims of yellow and blue, as they, together with
+red, complete the primary scale of colors. It is by placing these
+different colors in juxtaposition that we produce the proper qualities
+existing in each of the other colors. It is impossible to produce the
+effect of warmth by red and yellow unless we use the blue in connection
+with them. It is this filling up, or completing the primary scale of
+colors, that gives the term complementary, so often employed in
+speaking of colors. Thus red is said to be complementary to green, as
+green contains the other two colors of the primary scale--blue and
+yellow. Blue is complementary to orange, as orange contains red and
+yellow. Yellow is complementary to purple, as purple contains blue and
+red. The principle of using the complementary color is of the utmost
+importance in painting, or the use of color by any method, and it is on
+this principle that the harmony of color is based. When a painting is
+produced that has the colors red, yellow and blue properly balanced, a
+pleasing and harmonious effect is attained; but if these colors are not
+used in their proper relations, there is a discord, and the work is not
+satisfactory. These rules must be borne in mind by every student in
+coloring, whether he uses oil or water colors. One of the most common
+errors of amateurs is to overlook the red in landscape. Thus trees are
+too green, and the grass is insufferably green: the complementary
+color, red, has been left out.
+
+By the following experiment you may prove that when you see one color
+the eye is in a perfect condition to see its complementary color. On a
+piece of white paper, three inches wide and five inches long, draw with
+a lead pencil an oblong, half an inch from the top, one inch wide, and
+two and one-half inches long from right to left, and a similar oblong
+one-half an inch below the one already drawn. Then draw a six pointed
+star (or any other not too large figure you desire) in the centre of
+the upper oblong, and paint it with vermilion water color. Now look
+intently at the painted star for thirty seconds, and then look at the
+plain oblong below, and you will observe that the latter will gradually
+assume a very beautiful shade of green, the exact complementary color
+of the vermilion, with the figure in white upon it--unless you should
+happen to be color blind. If that is the case, the experiment will
+demonstrate that fact.
+
+
+
+
+COLORS.
+
+
+Transparent water colors are put up in boxes containing nine colors,
+and as you reduce them in the proportion of one part of color to eight
+of water, a single box will last a long time. They can be bought of
+almost any dealer in artist's materials, and are designated as
+Florentine, Egyptian, Grecian, and by other names. Care should be used
+in procuring those which are pure and fresh. The colors are yellow,
+blue, rose, violet, magenta, flesh, brown, gold and black. The labels
+on the bottles give directions for mixing.
+
+
+
+
+YELLOW.
+
+
+Yellow is one of the primary colors and one of the most useful, as it
+enters into the coloring of almost every picture. Transparent yellow is
+very brilliant, and can be used with any other color. Yellow and red
+make orange, yellow and blue make bright green, yellow and black a dull
+green. In landscapes, yellow is used in the middle distance with blue
+and rose and magenta. In the foreground it is used with blue and black
+for green, and is especially adapted for brilliant touches of foliage,
+grasses, and light places in the ground. In portraits a very little can
+be used in the reflected lights on the faces, and, when mixed with
+brown, for light shades of hair and eyebrows; for light dresses, used
+weak, it makes a very nice cream color. It can also be used very weak
+for laces, the strong lights being afterwards touched up with Chinese
+white, but not when the picture is to be mounted on glass. This color
+will ordinarily work nicely and give good results wherever its use
+seems appropriate, but care must always be exercised not to use it too
+strong.
+
+
+
+
+BLUE.
+
+
+This is another of the primary colors and a very essential one, it
+being the nearest allied to shade, and although not shade itself, no
+shadows can be produced without it. We will find it, therefore,
+mingling with all the shades of nature between the lights and shadows.
+It would be in vain for us to introduce all our warm colors, if the
+cool tints that are produced by blue are wanting; for, without that,
+the work will appear heavy, as it is the contrast between blue and the
+warm colors that produces a balance of color. Blue mixed with yellow
+makes a very brilliant green, with gold a duller green, with magenta a
+purple. In landscapes it is used in skies and the middle distances, but
+not in the foreground, unless mixed with yellow. Blue can be mixed with
+rose or magenta for sunset skies. When the horizon is represented a
+streak of blue or rose, or of blue and magenta, will give a very
+pleasing effect. In portraits if you have a light background, a thin
+wash of blue can be used over it. The same can also be used for blue
+eyes and for dresses when they are light in the picture, also in all
+the half-shadows of the dresses or draperies without regard to what
+their other color may be.
+
+
+
+
+ROSE.
+
+
+This is the nearest approach to red that we have in these colors, and
+as it fills out the scale it is an essential one. It is, in fact, a
+very delicate shade of rose. For landscape it is used only in the
+skies, and then only a little near the horizon for sunset effects. For
+portraits it is used in the drapery for making a very light shade of
+pink, and it can be used generally when you want to make a very
+delicate effect. The photographic print on which it is used should not
+be too dark.
+
+
+
+
+VIOLET.
+
+
+This is a very strong and brilliant color, and therefore needs more
+than usual care in handling. In landscapes it is only used in certain
+skies near the horizon, and but very seldom even then. It is more
+especially designed for portraits, and there particularly in drapery to
+make very decided effects of strong color; but it can only be used when
+the dress or draperies are dark in the photograph.
+
+
+
+
+MAGENTA.
+
+
+This also is a powerful color and must be used carefully. It is not
+adapted to landscapes, but in portraits is used for dresses and
+accessories. If the photograph requires a dark dress this color will
+make it a beautiful shade.
+
+
+
+
+FLESH.
+
+
+This color can be used a very little in the skies of landscapes when
+there is a sunset effect to be represented. In portraits it is used to
+color the faces and hands. After it is dry, retouch the cheeks and lips
+with the same color.
+
+
+
+
+BROWN.
+
+
+This color is used in all the shadows. In landscapes, in some
+instances, it serves for use in the middle distance and foreground; the
+light places should be retouched with yellow or gold. It is also used
+for tree trunks, fences, and the like. In portraits it serves to color
+the hair and eyes, and appears in the dark shadows of the drapery and
+furniture. If the background is dark, a nice effect is produced by
+tinting it a little with this color.
+
+
+
+
+BLACK.
+
+
+In transparent color this has more the effect of a dark gray than a
+brilliant black, such as is produced with body colors. When you want a
+very dark black, it is better to use a little India ink with it. It is
+used in the skies of landscapes when you wish a gray effect, or to
+subdue a too strong blue color or red, and in foregrounds for rocks. In
+connection with yellow it will make a sombre green for trees,
+mountains, etc. In portraits it is used for the hair and eyes, in the
+shadows around the mouth, and in drapery in connection with the other
+colors.
+
+
+
+
+GOLD.
+
+
+This is a combination of yellow and red, and in general can be used
+wherever either of these colors would answer. In landscapes a little
+can be used in the skies, the middle distances, and lights on the
+ground in the foreground. In portraits it is used to color the drapery
+and jewelry.
+
+
+
+
+INSTRUCTIONS FOR USING LIQUID WATER COLORS.
+
+
+Fill the two tumblers with water, and have all the other materials
+ready and convenient to work with. If you have selected a burnished and
+mounted photograph wet its surface with saliva; unburnished
+photographs, photogravures and engravings do not require this
+treatment, but in coloring them it will be necessary to mix a weak
+solution of gum arabic with the colors to prevent their penetrating the
+paper. If printed on too thin a paper the photogravure or engraving
+should be mounted. If it is found that the colors "crawl" or spread on
+the photograph, mix a little acetic acid with the colors you are using,
+and should this fail to remove the difficulty, rub a pinch of pumice
+stone over the photograph with the fingers.
+
+If the photograph is a portrait commence with the background, washing
+it all over with a brushful of diluted color, being careful not to get
+any on the face. If the background is light, use a weak solution of
+blue, if dark, a brown solution. The majority of backgrounds only need
+a very little tinting--just sufficient to change the color. For the
+face use flesh color, diluting it to the proper shade, washing it
+entirely over the face, and with a stronger solution of the same color
+tint the cheeks and lips, giving them a little brighter effect than the
+flesh color. Touch up the shadows in the face with the brown, and if
+there are any reflected lights use a very weak solution of the yellow
+color for them; then with some very weak black make the shadows around
+the mouth a little darker; next with a solution of blue, also very
+weak, strengthen the shadows in the forehead and around the temples;
+then color the eyes, using a small brush. If they are blue, use a weak
+solution of blue, if gray, use a little black, and if brown, then that
+color. Next color the hair; if brown, use brown mixed with a little
+black to take away the reddish color; if auburn, use brown and yellow,
+with a little gray between the lights and shadows. In working on the
+hair, move your brush in the direction of the lines of the hair; if
+wavy, then cause your brush to follow its lines. After you have thus
+gone over it, darken the shadows with a stronger solution of the same
+color. After the hair, paint the eyebrows and beard, if there is any,
+with the same color.
+
+
+
+
+DRAPERY.
+
+
+You must remember in using these liquid colors that they are
+transparent, and, therefore, whenever the print is light you cannot
+make it dark, unless you strengthen the shadows by applying opaque
+colors. For dresses, if they are light, use the delicate colors to suit
+your fancy, either the rose, blue, yellow, or gold; when they are dark,
+use the magenta or violet, being careful to spread the colors evenly.
+After you have once colored the dresses, then with a stronger solution
+of the same color darken the shadows; if you then touch up the
+half-shadows with blue the effect will be still finer. For neckties or
+ribbons use the complementary color to that of the dress. For laces use
+a weak solution of yellow, and after it is dry touch up the strong
+lights with Chinese white. If there is a curtain in the picture use the
+complementary color to the dress. For chairs use brown. If sky, trees
+and grass are to be painted, color them according to the directions
+given for landscapes under the different colors; only be sure to modify
+them, and keep them low in tone and color.
+
+In laying on flat washes of color, the brush must be held nearly
+upright and should be passed boldly over the surface; the color should
+then gradually be brought down and spread equally over the whole
+surface as rapidly as possible, in order to avoid letting any part dry
+before the whole has been covered; then whatever surplus there may be
+should be carefully sponged off. When you apply the wash of color to
+the picture the latter should not be held flat, but at a slight angle,
+so that the color will settle down towards the bottom of the picture.
+
+These colors are more suitable for figures and landscapes combined than
+they are for landscapes alone, yet very pretty effects in landscapes
+can be produced with them. If any white spots should be found in the
+photograph, as very often happens, after the picture is quite complete,
+touch them out with India ink, using a small brush.
+
+
+
+
+LANDSCAPE.
+
+
+If the sky is to be blue, wash it all over with a weak solution of
+blue; if there are white clouds, you can touch up the highest lights
+with Chinese white; if there is a sunset or rosy effect, use a weak
+solution of rose or a little magenta. But it is best not to try to make
+too much of the sky, as the gray that is generally in it will give a
+very pretty effect and leave more contrast between the figures and the
+sky. For the middle distance mix blue, rose, and a little yellow or
+gold if you want it greenish, or you can use a very little brown. The
+nearer the trees come in the foreground the stronger in color they
+should be; that is, they should tend more to the green and brown and
+less to the bluish color. If they are to be bright green use blue and
+yellow, and retouch the light places with yellow. You can make the
+green duller by mixing a little black with the yellow, or you can make
+a richer green by using blue, gold and brown, and then touching up the
+lights with gold, and the shadows with brown. For the grass use blue
+and yellow, and retouch the lights with yellow; for the ground use
+brown, and retouch the lights with gold; for tree trunks, fences, and
+the like, use brown; for rocks, use black and a little brown.
+
+
+
+
+THE PRINCIPLE.
+
+
+The study of painting as an art is based on three considerations, form,
+light and shade, and color. I will now treat of color--the form, and
+light and shade being furnished for us in the photograph. Photography
+as a means of art education in its influence on the public is salutary.
+In spite of all its falsity it is the best teacher of the first
+elements of criticism and knowledge of the facts of form and light and
+shade. Photography does not produce color, so that we will add the one
+link to the chain that is wanting. As we are dealing with pictures
+finished in light and shade, it is well that we should have rules to
+aid in choosing good ones to work on.
+
+In selecting a photograph to color we want as perfect a print as it is
+possible to procure. A light one is preferable. Notice in particular if
+it is well defined, that the shadows and middle shades are clear, the
+lights pure, and that it is free from defects and spots. Many think
+that they can take a poor photograph, and, by coloring it, cover up the
+defects, but they are wrong in this, for the transparent colors will
+not conceal defects. The best rule is that the better the photograph
+the better will be the picture when finished. The Soule Photograph
+Company, No. 338 Washington Street, Boston, Mass., furnish photographic
+reproductions, mounted and unmounted, of all the best paintings in the
+world, in both public and private art galleries, and their photographs
+are the best to color. Therefore, to begin with, have a perfect picture
+to color. Scholars in commencing to use the brush will not be able to
+produce bold effects of color, and will only acquire that power by use
+and practice. By bold effects I do not mean that one part is to be more
+prominently rendered than any other portion of the work, but merely the
+brilliancy of coloring which distinguishes professional from amateur
+work. In any kind of painting it must be borne in mind, that there are
+no decided lines forming the edges of any object. The point insisted on
+is that the boundaries of objects must be of that color that will
+harmonize and subdue the picture, producing a soft, delicate effect.
+
+I would advise all who begin to paint to commence with water colors, as
+they are the easiest to manipulate, the liquid water colors being
+easier than the body colors, and their use the simplest of all kinds of
+painting. The photograph being a fac-simile of a subject as it appears
+to the eye in form and light and shade, furnishes a picture perfect
+except in color, while the liquids supply the color in the form best
+adapted to teaching the first steps in its use. It is hoped, though,
+that after the student has thoroughly mastered this course of study, he
+will attempt something higher and more difficult in the study of art.
+
+
+
+
+French Crystals.
+
+[Illustration]
+
+
+
+
+FRENCH CRYSTALS.
+
+
+These are photographs colored with liquid water colors and mounted on
+glass. For several years a process has been taught by which a
+photograph is rendered transparent by the use of paraffine oil, etc.,
+then mounted on glass, and colored from the back with oil paints. While
+by this method a picture pleasing at the time could be produced, yet
+unless the process was perfectly executed the oils would decompose and
+the picture become yellow and spotted. The use of water colors entirely
+overcomes these objections, as it is so simple that any one can employ
+them perfectly, and as there are no oils used in their production they
+cannot change or turn yellow.
+
+
+
+
+MATERIALS.
+
+
+    Convex glasses on which to mount photographs,
+    Bottle of Florentine, Egyptian, Grecian or other compound for
+      mounting on glass,
+    Best French picture glass,
+    Some gummed paper,
+    A dish in which to soak photographs,
+    Some dark, thin, fancy paper,
+    Sheet of blotting paper.
+
+
+
+
+THE METHOD.
+
+
+Having secured a good photograph, rub a little pumice stone over it
+with the finger, and then, if it is mounted, remove it from the card by
+placing it in warm water and allowing it to soak for an hour or two, or
+over night if necessary. After it is thus freed from the card lay it
+face down on a piece of glass, and sponge off all the starch from the
+back. Cut a piece of blotting paper the size of the picture and lay it
+on a glass, wetting it with water applied with a sponge; then lay the
+photograph, still wet, on the blotting paper, and, with a sponge,
+remove all the surplus water from its surface. Now proceed to color it
+according to the directions given in the preceding pages for coloring
+photographs with transparent liquid water colors. In case you should
+put on too much color, let the photograph soak a few moments in warm
+water, when the surplus color will gradually come out, and you may then
+recolor it. After it has been finished to your satisfaction, proceed to
+mount it according to the directions next given.
+
+
+
+
+MOUNTING FRENCH CRYSTALS.
+
+
+The glass for mounting, whether flat or convex, should be the same size
+as the picture. It should be dipped in water and permitted to drain
+off, but do not dry it; pour a little of the compound on the side
+against which the photograph is to be placed--the hollow side, if the
+glass is convex--let it drain off and lay the picture face down upon
+it. With the thumb and finger commence at the centre of the photograph,
+smoothing it down close to the glass, forcing all the air bubbles out
+to the edges, thus continuing until the picture is entirely smoothed
+out, and at every point in actual contact with the glass. During this
+process hold the glass at an angle, so that you can see if there are
+any air bubbles or glistening places in it by examining its face
+occasionally; and always let a little of the compound get on the back
+of the photograph, as it allows the fingers to glide over it more
+easily and lessens the chance of tearing it. Now take a second glass
+the same size as the first, and having thoroughly cleaned it, fasten it
+to the back of the other by small strips of gummed paper. Then place a
+piece of card-board of the same size on the back of the two glasses and
+fasten the three together also with small strips of gummed paper;
+finally securing the whole firmly together by binding it with some
+large strips, and your picture is ready to frame. In case you do not
+care to frame it, cut out a piece of some dark fancy paper, a quarter
+of an inch on each edge larger than the picture, and fasten it, dark
+side out, on the back, allowing the quarter of an inch to lap over and
+be pasted on the face, after which straighten the edges with a ruler
+and sharp knife.
+
+
+
+
+FINISHING PHOTOGRAPHS IN INDIA INK.
+
+
+The principles that have been given in regard to finishing photographs
+with lines, apply also to finishing with India ink--with the exception
+that in the manipulation of the ink it must be remembered that it
+cannot be taken out; therefore, you must commence to finish the
+photograph gradually, and produce the proper strength by repeatedly
+working over it. The old method of making India ink portraits was to
+have a print on "plain" paper--a kind without albumen on its surface.
+The great disadvantage of "plain" paper is that the lights and shadows
+on it are not strong, and therefore it takes too much work to finish
+the picture.
+
+The following method (which is very simple and can be used in work on
+albumen paper, provided you have treated it by rubbing pumice stone
+over its surface with your fingers), adapts it to India ink. Of course
+the pumice stone treatment destroys the albumen on the surface, causing
+it to have a dull appearance, but after the picture has been finished
+its lustre can be restored by the use of a not too warm burnisher.
+
+In finishing the photograph commence on the hair by washing it all
+over (with the exception of the highest light) with a weak solution of
+the ink, using the brush in the same direction that the hair goes;
+after this has dried, indicate the half-shadow with a little stronger
+wash, and after drying it again put in the deeper shadows, then the
+eyebrows, eyes and beard, if the subject has one.
+
+Faces are finished in India ink on the line principle,[D] which shows
+the grain of the flesh. Commence on the forehead with a very weak
+solution, and then continue it all over the face, repeatedly working
+and cross hatching with lines until the face is dark enough; then
+strengthen the shadows under the eyes, nose, mouth and chin. After the
+face is completed put in the clothes. This you do by washing them over
+with two or three solutions of the ink, and then producing the line
+effect as in work on crayon portraits, explained on page 76, the
+difference in the nature of the material used being always borne in
+mind. After the picture is otherwise completed, you can brighten up the
+eyes and some of the strongest shadows with a solution of gum arabic
+and water.
+
+FOOTNOTES:
+
+[Footnote D: See pages 57 and 72.]
+
+
+
+
+CONCLUSION.
+
+
+While it is thought that all essential instructions on the topics
+treated of have been given in the foregoing pages, and that if
+faithfully followed they will lead the pupil to attain satisfactory
+results, it is hoped that my readers who have accompanied me thus far
+will not be content to continue to use a photograph as the basis of
+their work, but will advance to the pursuit of art in a broader and
+more scientific manner. As a step in this direction the study of form,
+and light and shade, by drawing from the cast should be taken up; and
+to this work the directions as to light and shade given in the
+foregoing pages fully apply, that requiring the object to be placed in
+such a position that the light will strike it at an angle of ninety
+degrees being always borne in mind.
+
+The student will do well to gain all he can from the published works of
+the leaders in the profession, whose writings, both theoretical and
+practical, are invaluable. Three essays by John Burnet I can very
+heartily recommend. They are "Practical Hints on Light and Shade,"
+"Practical Hints on Composition," and "The Education of the Eye." These
+are published in a single volume, which is illustrated with examples
+from the great masters of the Italian, Flemish and Dutch schools, and
+should be in the hands of every amateur. They will all repay perusal
+and study until their principles are mastered. An English edition of
+these books is published by James Carpenter, London, and in this
+country they have been reproduced by Edward L. Wilson, editor of the
+_Philadelphia Photographer_. Another book which abounds in valuable and
+practical information for the amateur and can be highly commended, is
+"Art Recreations, a Guide to Decorative Art," by Marion Kemble,
+published by S. W. Tilton & Co., Boston; also J. Bacon's "Theory of
+Coloring," issued by Geo. Rowney & Co., England.
+
+Those who are disposed to treat disdainfully the work of finishing
+photographs in crayon and color as not demanding truly artistic
+qualities, should not forget that success here has still a real value
+in awakening in many who undertake it a feeling for art of a higher
+kind, and in developing a natural talent which otherwise might have
+been undiscovered. Many an artist now looks back with pleasure and
+gratitude to this sort of work, in which he received the first impetus
+toward higher effort.
+
+In answer to the assertion which is sometimes made that transparent
+water colors are not permanent, I claim that in the sense in which the
+word is ordinarily used in connection with photography they may
+properly be called so. In this sense the lasting qualities which
+characterize the materials used by the old masters are not looked for,
+but where photographs have been thus colored, finished in the form of
+French crystals, and properly sealed from the atmosphere, they are
+practically permanent. I have some in my possession that were made
+years ago, and they are as bright and fresh to-day as when first
+colored. It can be truly said that photographs colored in this way make
+very beautiful and pleasing pictures, obtainable with but little work
+and expense, and having practical permanency of color.
+
+As a final word to those who intend to follow art as a profession, I
+urge the earnest study and mastery of drawing at the outset as the
+foundation of all art; then take up work in body water colors, and when
+the theory of coloring is fully understood, do not neglect the careful
+reading of books of acknowledged merit bearing on your work. The more
+notes you take in the course of your reading the more fully you will
+assimilate the author's thought, while, at the same time, you furnish
+the easiest means of rapid review. After all, your soundest basis for
+work will be your deep and continuing love for it, and your willingness
+to labor long and conscientiously to attain excellence. Do not imagine
+that the profession of an artist is that of an idler. On the contrary,
+of all occupations it is perhaps the most active, for one is constantly
+engaged, if not with art itself, at least with its materials.
+
+Every artist will confess that were it not for the charm with which it
+rewards the votaries who follow it from love, the pursuit would be a
+painful one, such vigilant precaution does it require, such constant
+foresight, such calculation and preparation against possible difficulty
+on every hand; but the true artist, happy in the daily gain of
+knowledge which his experience brings him, and delighted with the
+gradual mastery of his work, as a rule lives along enjoyably, retaining
+more than most men the freshness of youth while he gains in power as he
+advances in years. So pleasant a fate as this for each of his readers
+is the closing wish of the author.
+
+
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+Moved some illustrations to avoid breaking up paragraphs of text. The
+page references in the List of Illustrations refer to the original
+book.
+
+Corrected minor punctuation errors and hyphenation inconsistencies, and
+made the following changes:
+
+Page 50: Changed necesssary to necessary:
+  (all the details necesssary).
+
+Page 67: Changed Appelton to Appleton:
+  (From the Annual Encyclopedia. Copyrighted, 1891, by D. Appelton).
+
+Page 74: Changed where-ever to wherever:
+  (using the latter where-ever a lighter effect is required).
+
+Page 90: Changed picrure to picture:
+  (And when a picrure is composed chiefly of middle tint).
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Crayon Portraiture, by Jerome A. Barhydt
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CRAYON PORTRAITURE ***
+
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