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 1114 inch enlargement of the head will answer for a 2530 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 gla.s.s by machinery. The two plates of gla.s.s (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 s.p.a.ce 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 s.p.a.ce 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 s.p.a.ce 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 s.p.a.ces 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 princ.i.p.al 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 ill.u.s.tration 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 s.p.a.ces. 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 coa.r.s.e 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 ma.s.ses of light and shade have been made with the tortillon stump, as explained on page 55._

[Ill.u.s.tration: 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 ill.u.s.tration 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 ill.u.s.tration 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.