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.





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