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 so that the light strikes the picture at an
angle of 90 deg., and, when working from a side light, it will very
often be necessary to darken the lower part of the wi
this result.
The mahl stick is held in the left hand, and is used as a rest for the
right arm in working. Though a trifle awkward and difficult at first,
its use must, nevertheless, be learned, as the hand will not be steady
without it, especially in portrait work.
The square black Conte crayons are for filling in where there are large
dark places. The No. 1 is used with the black Conte crayon sauce in
making the crayon sauce (to be applied with the ends of the fingers) to
produce a broad effect and to make the stipple effect on the paper
after it has been rubbed with pumice stone.
The crayon points, Nos. 1, 2 and 3, are used in making outlines and
also in putting in the lines to produce the line effect. In general,
they are to be used in free-hand crayons and on silver and platinum
enlargements.
The Hardmuth black chalk points are similar to the crayon points, and,
if preferred, should be used according to the directions given for the
crayon points.
The Hardmuth points are made in five numbers and will, therefore,
produce more shades of black than the crayon points. They are also
twice as long as the latter, without costing any more.
The Conte crayons, in wood, are used for finishing the crayon,
especially the No. 0, its hardness adapting it to that purpose.
The 6 B. Faber's holder, for lead pencil points, is for holding the
Faber's Conte crayon No. 0 after it has become short, the wood being
carefully removed before the crayon is placed in the holder.
The 4 H. holder, with Siberian lead pencil point, is used in the very
finest work on bromide paper, for finishing in the light places. Care
must be employed not to use too much lead on the paper, as, being of a
different color from the crayon, it would show if too freely applied.
It is also used in making monochromes.
Velour crayon is very black. It is only used to produce a velvet effect
and whenever it is necessary to make a very strong dark--that is, a
dark that is deeper than an ordinary shadow.
The Peerless crayon sauce is the same as the crayon sauce made from No.
1 Conte crayon and the black Conte crayon sauce in foil. It is made and
put up in bottles by F. W. Devoe & Co., and can be bought of any dealer
in artist's materials. It will be found more convenient to get it in
this form than to prepare it in the studio; it costs no more and saves
the expense of a mortar and pestle. As it is ground by machinery and
passed through a very fine screen, there are no small hard particles in
the preparation, and its use is recommended.
Black Conte crayon sauce, in foil, is used in making the crayon sauce
to be applied with the fingers.
White crayon, in wood, is for touching up the high lights of white
drapery, and especially for the high lights on white lace; it is to be
used very sparingly.
Tortillon stumps are used in making the face, when it is desired to
produce the stump effect, and also in making the hair.
The large grey paper stump serves to make the broad effect of shade in
the stump effect in the hair and dress.
The Peerless stump is used to produce the same effect as the large grey
paper stump. It will be found far better than the paper stump for work
on the bromide paper, as it is made of softer material and causes the
crayon to adhere to the paper more readily.
The large rubber eraser is to put in the broad effects of light in the
background and dress. The small nigrivorine erasers are used when it is
necessary to remove the crayon, in order to produce small decided
lights--principally in making free-hand crayons and to produce the line
effects over a platinum and silver enlargement. While the stumps are
used for putting on the crayon, the erasers are used to remove it. The
chamois is also used for removing the crayon, to produce broad effects
of light.
The cotton is for applying the crayon sauce to the paper and for
rubbing the crayon at different stages in the completion of the
picture. The crayon cannot be removed with the eraser unless it has
first been rubbed with the cotton; and this must be borne in mind, as
the use of the eraser at this stage would only result in making a black
line or spot, when it was intended to produce a white line or spot.
It will also be well to make a chamois block for applying the crayon
sauce, to be worked with the tortillon stump. This is done by tacking
onto a block, four inches long, two inches wide and three-quarters of
an inch thick, a piece of chamois skin, three inches wide by five
inches long, allowing it to cover the top, while it is fastened along
the four edges. This is placed face down in the box of crayon sauce and
rubbed around in it, so that the crayon will adhere thoroughly to the
chamois.
Emery paper is used to sharpen the nigrivorine erasers and the crayon
points.
The knife, which is a very important tool, should be a good one, always
kept well sharpened. The best for this work is an ink eraser, with a
rounding point, a long edge on one side of the blade and a short one on
the other side, extending about an inch from the point.
The mortar and pestle are for pounding or grinding the Conte crayon No.
1 and the crayon sauce, in making the special crayon sauce mentioned
above.
The paste-board box is intended to hold this special crayon sauce or
the Peerless sauce.
The back-boards are one inch thick, made to fit the back of the
strainer (described in the next chapter), and are used in mounting. It
will be necessary to have three different sizes, the most useful being
11x15, 15x19 and 19x24 inches, to fit, respectively, strainers
measuring 16x20, 20x24, 24x29 and 25x30 inches.
The pliers should be either what is known as shoe-maker's pliers (which
are the cheapest) or the canvas pliers, used in stretching that
material; they are needed to stretch the cloth on the strainer.
The pulverized pumice stone is used in preparing the surface of crayon
paper and bromide enlargements, to produce the stipple effect.
More
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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 ... Transparent Liquid Water Colors For Coloring Photographs
Materials Required in Their Use. A good photograph, an engraving or photogravure mounted on card-board Camel's hair brushes, Nos. 3 and 5, Sheet of blotting-paper, Small sponge, Clean white cloth, Cake of Chines... Transparent Liquid Water Colors For Coloring Photographs
Materials Required in Their Use. A good photograph, an engraving or photogravure mounted on card-board Camel's hair brushes, Nos. 3 and 5, Sheet of blotting-paper, Small sponge, Clean white cloth, Cake of Chines... Values
The matter of values enters into the essential quality of every work of art, and especially of a portrait. It is the truth of their rendering that will give a faithful likeness. By the term values is meant the relations of light and shade to each ... Values
The matter of values enters into the essential quality of every work of art, and especially of a portrait. It is the truth of their rendering that will give a faithful likeness. By the term values is meant the relations of light and shade to each ... Violet
This is a very strong and brilliant color, and therefore needs more than usual care in handling. In landscapes it is only used in certain skies near the horizon, and but very seldom even then. It is more especially designed for portraits, and ther... Violet
This is a very strong and brilliant color, and therefore needs more than usual care in handling. In landscapes it is only used in certain skies near the horizon, and but very seldom even then. It is more especially designed for portraits, and ther... Yellow
Yellow is one of the primary colors and one of the most useful, as it enters into the coloring of almost every picture. Transparent yellow is very brilliant, and can be used with any other color. Yellow and red make orange, yellow and blue make br... Yellow
Yellow is one of the primary colors and one of the most useful, as it enters into the coloring of almost every picture. Transparent yellow is very brilliant, and can be used with any other color. Yellow and red make orange, yellow and blue make br...