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.
Make a negative from the photograph that is to
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.
More
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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... 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 an... 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 an... Rose
This is the nearest approach to red that we have in these colors, and as it fills out the scale it is an essential one. It is, in fact, a very delicate shade of rose. For landscape it is used only in the skies, and then only a little near the hori... Rose
This is the nearest approach to red that we have in these colors, and as it fills out the scale it is an essential one. It is, in fact, a very delicate shade of rose. For landscape it is used only in the skies, and then only a little near the hori... Second Method Of Making The Background
Take a handful of cotton batting, rub it in the box of crayon sauce, and then on a piece of paper before applying it to the crayon paper to make the background, being careful to avoid rubbing harder in some places than others, as dark spots are li... 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. When putting in a background with the pumice stone as described ... 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. When putting in a background with the pumice stone as describe... Studio
The amateur is not to consider the selection of his studio or work-room of minor importance; the perspective, coloring, and the effect of the portrait will all depend, in a great measure, upon the situation and dimensions of the studio. It may be ... Studio
The amateur is not to consider the selection of his studio or work-room of minor importance; the perspective, coloring, and the effect of the portrait will all depend, in a great measure, upon the situation and dimensions of the studio. It may be ... The Method
Having secured a good photograph, rub a little pumice stone over it with the finger, and then, if it is mounted, remove it from the card by placing it in warm water and allowing it to soak for an hour or two, or over night if necessary. After it i... 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... 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... 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 ad... 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 ad... The Principle
The study of painting as an art is based on three considerations, form, light and shade, and color. I will now treat of color--the form, and light and shade being furnished for us in the photograph. Photography as a means of art education in its i... The Principle
The study of painting as an art is based on three considerations, form, light and shade, and color. I will now treat of color--the form, and light and shade being furnished for us in the photograph. Photography as a means of art education in its i... 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 s... 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 s... 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... 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... Theory Of Color
The principles connected with coloring should be understood if one desires to produce the most pleasing and harmonious effects in painting. The three colors, red, yellow, and blue, with the white of the paper, are equal in theory to all the requir... Theory Of Color
The principles connected with coloring should be understood if one desires to produce the most pleasing and harmonious effects in painting. The three colors, red, yellow, and blue, with the white of the paper, are equal in theory to all the requir... Third Method Of Making The Background Line Effect
With the cotton and crayon sauce as in the preceding method, put in the dark places and cast shadow, but not as dark as you want them when finished; then with the crayon point No. 2 put in three sets of lines thus:-- Do not carry out the lines ... Third Method Of Making The Background Line Effect
With the cotton and crayon sauce as in the preceding method, put in the dark places and cast shadow, but not as dark as you want them when finished; then with the crayon point No. 2 put in three sets of lines thus:-- Do not carry out the lines ... 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 11x14 inch enlargement of the head will answer for a 25x30 inch crayon portrait, and serve as a guide to work from ... 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 11x14 inch enlargement of the head will answer for a 25x30 inch crayon portrait, and serve as a guide to work from ...