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 a
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.
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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 ligh... 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 ligh... 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 ... 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 ... 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 ... 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 ... 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 ... 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 ... 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 p... 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 p... 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... 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... 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 acco... 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... 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... 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 comprehensi... 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 comprehensi... 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 del... 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 del... Dress - Line Effect
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.... Dress Line Effect
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 clothin... Face - Line Effect
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 th... Face Line Effect
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 th... 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 tha... 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 tha... 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 ... 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 ... 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 mus... 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... 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... 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. ... 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. ... 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 th... 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 th... 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... 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... 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... 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... 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 cray... 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 cray... French Crystals
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... 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 b... 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... 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...