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.