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 . ements. Of course it will need considerable experience before you Fourth Method of Making the Background. 71 can succeed in doing this perfectly, but patience and per-severance will ultimately accomplish the desired are two matters of importance to be borne in mindin making these backgrounds—first, do not have any small,hard pieces of crayon on the cotton
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 . ements. Of course it will need considerable experience before you Fourth Method of Making the Background. 71 can succeed in doing this perfectly, but patience and per-severance will ultimately accomplish the desired are two matters of importance to be borne in mindin making these backgrounds—first, do not have any small,hard pieces of crayon on the cotton when you rub it on thepaper, and second, use the fingers in as flat a position aspossible, for if you do not have them flat down on thepaper you are likely to make dark spots in the back-ground. 72 Crayon Portraiture. FACE—LINE EFFECT. Commence on the hair with the crayon point No. 2, andput in all the shadows and half-shadows, carefully preserv-ing the lines of direction, but avoid working over thelights more than necessary ; then with the crayon pointNo. 1 strengthen all the shadows about the eye brows, theeyes, the mouth, the chin and the ears. Next put the linesin the face. The following illustration shows the lines. LINE EFFECT FOR FACE. From the Annual Encyclopedia. Copyrighted, i8qi, by D. Appleton &> Co. Face—Line Effect. 73 before they are rubbed. It will be well to remember thatonly two sets of lines are used in the face, as shown in theillustration, and the same number in the dress, while thereare three sets required in the background. The lines inthe face should be a little closer than those in the back-ground, while those in the dress are about the same asthose in the background. In the effect of the lines in the face lie the chief meritand beauty of this method of crayon work. When prop-erly drawn, the lines represent and give the grain of theflesh in a very beautiful broken effect. They are drawn soas to leave spaces shaped like diamonds, but in the fin
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectcolors, bookyear1892
