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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.





Next: Line Effect

Previous: Free-hand Crayons And Those Made From Photographic Enlargements



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