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.
More
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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... Instructions For Using Liquid Water Colors
Fill the two tumblers with water, and have all the other materials ready and convenient to work with. If you have selected a burnished and mounted photograph wet its surface with saliva; unburnished photographs, photogravures and engravings do not... Instructions For Using Liquid Water Colors
Fill the two tumblers with water, and have all the other materials ready and convenient to work with. If you have selected a burnished and mounted photograph wet its surface with saliva; unburnished photographs, photogravures and engravings do not... Landscape
If the sky is to be blue, wash it all over with a weak solution of blue; if there are white clouds, you can touch up the highest lights with Chinese white; if there is a sunset or rosy effect, use a weak solution of rose or a little magenta. But i... Landscape
If the sky is to be blue, wash it all over with a weak solution of blue; if there are white clouds, you can touch up the highest lights with Chinese white; if there is a sunset or rosy effect, use a weak solution of rose or a little magenta. But i... 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 imp... 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 imp... Magenta
This also is a powerful color and must be used carefully. It is not adapted to landscapes, but in portraits is used for dresses and accessories. If the photograph requires a dark dress this color will make it a beautiful shade. ... Magenta
This also is a powerful color and must be used carefully. It is not adapted to landscapes, but in portraits is used for dresses and accessories. If the photograph requires a dark dress this color will make it a beautiful shade. ... Magic Lantern Outline
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 enlar... Magic Lantern Outline
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 enlarge... Materials
Convex glasses on which to mount photographs, Bottle of Florentine, Egyptian, Grecian or other compound for mounting on glass, Best French picture glass, Some gummed paper, A dish in which to soak photographs, Some... Monochromes
These are portraits in one color on porcelain, glass or any hard material that has first been coated with gelatin and then photographed on. First treat the whole surface with pumice stone as directed for the bromide paper, afterwards go over it wi... Monochromes
These are portraits in one color on porcelain, glass or any hard material that has first been coated with gelatin and then photographed on. First treat the whole surface with pumice stone as directed for the bromide paper, afterwards go over it wi... 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 serviceabl... 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 serviceabl... 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 wit... 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 wit... Mounting French Crystals
The glass for mounting, whether flat or convex, should be the same size as the picture. It should be dipped in water and permitted to drain off, but do not dry it; pour a little of the compound on the side against which the photograph is to be pla... 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 ph... Passepartout Mounting
The following method will be found useful, especially if you want to exhibit a crayon without the expense of framing it. Lay on the mounting board a piece of heavy manilla paper somewhat larger than the picture, then put the crayon on this face up... Passepartout Mounting
The following method will be found useful, especially if you want to exhibit a crayon without the expense of framing it. Lay on the mounting board a piece of heavy manilla paper somewhat larger than the picture, then put the crayon on this face up...