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 as far as the background will extend when
finished. The lines should be one-quarter of an inch apart in life-size
portraits, and a little closer in smaller sizes. A
are a little further apart in the background than in the face. These
lines need not be horizontal, crossed by oblique ones at obtuse angles,
but they can be curved lines, if desired, provided they cross each
other so as to leave diamond shaped spaces. After the lines are in rub
a piece of clean cotton over them all, using pressure enough to subdue
them to the degree of indistinctness desired; then finish with the
large eraser and crayon point No. 2, putting in the cloud effect. Such
lines as show too prominently you subdue with the nigrivorine eraser.
If there are any light places, make them dark with the crayon.
The background should be very indistinct on the edges, and be vignetted
in the shape of an oblong, having some very light clouds above and on
either side of the head. Let there be a nice contrast between the face
and the background, having light come against dark and dark against
light; that is, when one side of the face is dark and one side light,
have the background light against the dark side, and dark against the
light side; when light and shade are about equal on both sides of the
face, have the background about the same shade on both sides, without
too decided a cast shadow. If you have a subject that has gray hair,
have the background darker than it would be otherwise. The background
should never be darker at any place than the shadows in the face, and
close to the face it must be a shade between the light and half
shadows. Never resort to the practice of leaving the background white,
as this will only give a hard, stiff appearance. Clean off the outside
edges of the background with a clean piece of cotton and the pumice
stone.
More
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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
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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
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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...