MERCHANTS IN SUPPLIES 
 
 Photographers' Booksellers, Stationers, 
 
 AND NEWSDEALERS. 
 
 DOUGLASS, THOMPSON & Co. 
 
 229 and 231 State Street, 
 
 CHICAGO. 
 
 PHOTOGRAPHERS' BUREAU OF INFORMATION, 
 
 MONTHL.Y, FREK. 
 
 SEND FOB CATALOGUES. 
 
 GAYTON A. DOUGLASS. HENRY G. THOMPSON. 
 
 \^ig/( 
 vjp*
 
 S. D. CHILDS & CO. 
 
 Wadding Invitations, Announcements, 
 
 HK- Party and Calling Cards, Crests, Monograms,-*- 
 
 Bronze Stamping, Illuminating, etc. 
 
 A VERY FINE ASSORTMENT OF 
 
 WAX SEALS FOR LADIES' USE ALWAYS ON HAND. 
 
 163 DEARBORN ST., CHICAGO. 
 
 w*^ 
 
 s 
 
 Monthly Magazines and Weekly Newspapers. 
 
 FRAMES OF ALL DESCRIPTIONS. 
 346 ffes? Afa<//so/7 $to?ef, Chicago, Ills.
 
 in Dragon, 
 
 ARTISTIC PORTRAITS MADE TD ORDER 
 
 .S.T 
 
 ^Sittings ^0333, Life 
 
 Pictures Copied from Photographs, Tintypes and Daguerreotypes. 
 
 ROOM 28, ELY BLOCK, 
 Cor. Monroe St. and Wabash Ave., CHICAGO, ILL. 
 
 E, LOVEJOY 
 
 88 STATE STREET, 
 
 A COMPLETE STOCK OF 
 
 Photographs of Prominent Men, Stereoscopes, Views, Graphoscopes, 
 ETC., ETC. 
 
 THE POPULAR IDEAL HEADS, 
 
 rom Crayon Drawings, just the tiling for Crayon Stttilit*. 
 
 FRAMING OF ALL KINDS TO ORDER.
 
 a, 
 
 Musi 
 
 of usic. 
 
 C. JA^ST SMITH, 
 
 I 
 
 TEACHER OF SINGING, 
 
 <J> I I n V^ I I L I t v_X I V_- I I >| V_^| I I M Vfl A 
 
 l y-"~ " 's-tP 
 
 i Late c f the Royal Academy of Muiic, London.) 
 
 PIANO AND VIOLIN LESSONS BY COMPETENT TEACHERS 
 
 ALSO AN 
 
 Evening Class for reading Iljusic at Sigljt. 
 
 MY ENGRAVED SCHOOL CARD 
 
 la very haniecme, oontainir.g a copy of one of Frank Bromley's 
 
 last Paintings, with an Aorostio on the word Music, and 
 
 will be sent free to any address on applicaticr.
 
 T. IB. 
 
 AUTHOR OF "CRAYON PORTRAITURE. 
 
 PORTRAIT WORK OF EVERY DESCRIPTION, 
 
 Including full and half length Pictures with Scenic 
 Backgrounds, executed at reasonahle rates. 
 
 CORRESPONDENCE BY MAIL SOLICITED. 
 
 i^s * Pictures * a : Specialty* 
 
 Instruction in Crayon Portraiture or Charcoal 
 Urawing, given in classes, private lessons, or at 
 pupil's residences, hnth day and evenino, 
 
 Room 2, Central Music Hall, 
 
 CHICAGO.
 
 A DEVICE FOR OBTAINING A 
 
 CORRECT DRAWING FROM A PICTURE OR OTHER OBJECT 
 
 On an Enlarged, Reduced or same Scale, and may fce used for 
 
 putting in the Yaluea, or Principal Shades, without 
 
 having to first make an Outline Sketch. 
 
 MANUFACTURED AND FOR SALE BY 
 
 C. C. MINOR & CO,, 170 State St., Chicago, Ills. 
 
 M-SEND FOR CIHCULAK.-M 
 
 IE2CTs.fl.CTS 
 
 Frwn FRANK RUSSELL GREEN, Pan*. 
 
 "The system of squaring off n drawing for enlargement was much 
 \\-<"\ by the old musters, us you frequently seeiii tin- drawings by them 
 in tin- l.ouvrc, iind It is also used by the nuKlern French Artists who 
 paint lar^i' canvasses and whose sketches for them are often on u small 
 -cale. I have examined your Invention and think it would be verv 
 valuable to Portrait Artists, as the geometrical accuracy of the method, 
 and the assistance of It would be a great saving of time." 
 
 From WILL. H. McENTEE, Aev lor*. 
 
 " The Metrosco|K! I purchased of you some time ago, has been in 
 almost daily use ever since, tind with entirely satisfactory results. 
 I think as a quick and reliable means of MOOrlng outline draw- 
 ings it is without a fault, and practical alike to the skilled artist mid 
 the HmaAeur. Your ingenious subdivision of squares is especially con- 
 venient, as I am able to dispense with all but the largo squares 
 \vlierever the character of my work will permit , and use the smaller 
 ones in the complicated portions of the work."
 
 From LOUIS MARXSEN, (now Mother & Marxsen,) Chicago. 
 " Having used your squared glasses for enlarging, during the pnst 
 yer in my portrait work, I consider them the best possible means ot 
 hipidly obtaining a correct outline from a photograph or other small 
 picture." 
 
 From A. F. BROOKS, Chicago. 
 
 " All photographs are more or less lengthened or broadened by the 
 stretching of paper in mounting. The paper being made by machinery 
 has a grain running lengthwise, and when dampened, like a shingle 
 will widen. It is very noticable in some photographs, tmd usually in 
 old ones the cards are lengthened and the cabinet s are broadened, as the 
 paper was cut to economise in printing. The only way this fault 
 can be remedied in a drawing is by your system of squares, as the 
 large squares can be elongated in either direction to hit the right 
 proportion." 
 
 From ALFRED PA YNE, Chicago. 
 
 " I cheerfully commend the Metroscope devised by you to aid 
 the Artist in working from the photograph. By its aid he can, with 
 certainty, enlarge his model to any size, and make a correct copy by 
 preserving all its relative proportions. While doing this, he is both 
 exercising and dependent upon his ' eye,' and yet the combination ot 
 the squares of the Metroscope effectually prevent errors." 
 
 From C. F. 8CIIWERDT, Chicago. 
 
 " I made a trial ot the Metroscope for the drawing of a portrait 
 ijoxTil inches of three children in a group, and found it a most valuable 
 assistance, as I was enabled by it to get the drawing more correct than 
 the photographs, as the paper had stretched the faces too wide." 
 
 From J. B. CROCKER, Author of "Crayon Portraiture." 
 " Although the principle of the Metroscope is by no means new, 
 yet your Improvements upon that principle are so radical as to virtu- 
 ally make it a new instrument, and really the most desirable one in 
 the market for obtaining a correct enlargement." 
 
 From L. PRANG, (L. Prang & Co.) Boston. 
 
 " I heartily recommend the Metroscope for Lithographer's use in 
 their 1'ortrait work." 
 
 From FRED. BUEHRINO, Editor "The Lithographer," Chicago. 
 
 " With the greatest pleasure we state that we know of no better 
 medium for an Artist to obtain a correct drawing than by the means 
 of your Metroscope." 
 
 From J. K. 1TM I'KLLY, Chicago. 
 " It trains the eye, and should be used in all schools."
 
 FIRST-CLASS GOODS ONLY. 
 
 MANUFACTURING COMPANY, 
 
 77 STATE STREET, - - CHICAGO, ILL. 
 
 .M:ik i- :i Specially of Manufacturing 
 
 ARMY AND SOCIETY BADGES AND ARTISTIC JEWELRY. 
 
 They also liavc a large stock of 
 
 Gold and Silver Watches, Diamonds, Jewelry &c. 
 
 AT \\ MIII.I->.\I.K run i 8. 
 
 E. R. P. SHURLY 
 
 Has personal supervision of the Watch Repairing Department- a 
 guarantee of Fine Work. 
 
 /'//; ILLUSTRATED CATALOGUE AND PRICE LO1
 
 
 CO 
 
 
 
 
 "*3 
 
 o 
 
 3S 
 
 
 c 
 
 
 5" 
 
 i 
 
 =/ 
 
 
 13 
 
 
 2' 
 
 J? 
 
 & 
 
 in 
 
 m 
 
 3j 
 
 CO 
 
 
 9 
 
 J 
 
 g. 
 
 n 
 
 CO 
 
 
 B t 
 
 i 
 
 *^ W 
 
 PU 
 
 B 
 
 H 
 
 o 
 
 O 
 X 
 
 
 3 
 
 a. 
 
 T) 
 O 
 
 IP 
 
 I 
 
 I 
 
 ff t~* 
 
 PL. 
 
 O 
 n 
 
 
 1 
 
 
 
 | 
 
 CO 
 
 rH LV3 
 
 M 
 
 CO 
 
 o 
 
 E 
 
 cj 
 
 "5 s 
 
 CO 
 
 y~^ i j 
 
 m 
 
 m 
 
 r 
 
 5" 
 
 1 
 
 n 
 
 w 
 
 2 
 
 <z 
 
 H trJ 
 
 i , 
 
 m 
 
 n' 
 
 i 
 
 H 
 
 *. 
 
 Ok 
 
 
 
 I L..-H 
 
 3 
 
 O 
 
 H 
 m 
 o 
 
 R 
 
 
 
 
 i 
 
 MENS 
 
 p 
 
 z 
 
 3] 
 
 ^ 
 
 m 
 
 grt tJj 
 
 1 J 
 
 m 
 
 K) 
 
 
 
 STUDIES 
 
 B 
 
 o" 
 
 
 o 
 
 o 
 
 1 SUPPL: 
 
 5 
 
 s 
 
 STREET 
 
 : 
 
 1 L7] 
 
 0^ n 
 
 CD 
 
 TI 
 
 
 
 ? 
 
 M 
 M 
 
 1 
 
 
 W f^a 
 
 > 
 
 a 
 
 
 
 o 
 
 
 
 
 ? 
 
 n 
 
 CO 
 
 
 < 9 
 
 
 ^.^ n 
 
 
 > 
 
 
 toj*> l*i 
 
 fj 
 
 2T ii 
 
 PL. 
 
 r" 
 
 
 J" 3 
 
 H 
 
 ^ 
 
 CD 
 
 rn 
 
 
 D) 2" 
 
 lii 
 
 ^^K ^- 
 
 
 
 
 
 s. a 
 
 H 
 
 
 
 
 
 
 2 
 
 
 
 ^* 
 
 
 33 
 
 
 < 
 
 I 
 
 ^ 
 
 
 m 
 
 
 3 
 
 Q 
 
 $& 
 
 i^ 
 
 H 
 
 
 5' 
 
 
 
 &
 
 THAYER & CHANDLER, 
 
 IMlliRTKHh ANU I'l M.Hls IN 
 
 ARTISTS' MATERIALS 
 
 c^xr^iviioio ivi,tt. i j_ji\i/i.Lju,>y~ > , 
 
 f^- - ' )0( " )$C ' ' " -' *^> 
 
 DRAWING PAPERS, WAX FLOWER GOODS. 
 
 CRAYON MATERIALS, GOLD FRAMES, PICTURE MATS, ARTICLES 
 FOR DECORATION, ic., &c. 
 
 l?o. 46 IRadisoij Street, Chicago. 
 
 AGENTS FOR " CRAYON PORTRAITURE." 
 
 I Send for lUuatrated Catalogue of 150 Pages. J
 
 A COMPLETE 
 
 AND 
 
 COMPREHENSIVE TREATISE 
 
 ON THE ART OF 
 
 CRAYON PORTRAITURE, 
 
 BY J. B. CROCKER 
 
 Teacher cf Crayon and India Ir.k. 
 
 CHICAGO, ILL.: 
 
 THE JEWELERS' JOUKX.U., .">7 \V\S1HM.I"N RT. 
 
 1884.
 
 COPYRIGHT. 1884, 
 BY 
 
 J. B. CROCKER AND Q. B. MILLER.
 
 Alt 
 
 Library 
 
 CONTENTS. ^ 
 ~ 1 
 
 (oO 
 
 cx 
 
 CRAYON PORTRAITURE. 
 
 MATERIALS. 
 
 PAPER. 
 
 STUKTCHERS. 
 < KAVc >\ SAUCE. 
 Till; I'MoToirKAPH. 
 TIIK KXLAUGKMENT. 
 
 THK MKTUOSCUIM;. 
 
 TIIK r.VM'iKJlJAPH. 
 
 TIIK TUANSFEU. 
 
 LIGHT. 
 
 TIIK METHOD. 
 
 TIIK I'.ACK'.KOUND. 
 
 TIIK DKAI'EKY. 
 
 TIIK IIAIK. 
 
 TIIK EYES. 
 
 TIIK XOSE. 
 
 THK MOUTH. 
 
 THE FOKEHEAD. 
 
 THE FACE. 
 
 FIXISH'Cr THE BACKGKOIM). 
 
 Fi'Li. I.I;N(.HI I-OKTUAITS. 
 
 SCENIC BA< KiUMIXDS. 
 
 LANDSCAPE DKAWIM.. 
 
 FIXIXG. 
 
 SUGGESTIONS. 
 
 POINT WORK. 
 
 ( 1IAUCOAL DRAWING. 
 
 AIR BRUSH. 
 
 CONCLUSION.
 
 * INTRODUCTION. 
 
 RAWING was formerly looked upon as an 
 accomplishment, or as a means of gratification 
 by which time might be pleasantly occupied, or 
 the tastes and talents of the artist displayed. But 
 it has become one of the essential and indispen- 
 sable features in the education of the present 
 generation. The pleasures and advantages of its 
 pursuits were formerly enjoyed by the rich alone, and its 
 beauties and mysteries never revealed except to the 
 favored few. 
 
 But in the present age Schools of Design and Acade- 
 mies of Fine Arts have been opened in all our large cities, 
 and even our common schools are giving special attention 
 to this branch of study, until it is almost within the reach 
 of everyone to acquire some knowledge and skill in this 
 direction. It cultivates habits of tastes, the appreciation 
 of the beautiful in art, as well as in all the varied and 
 graceful forms in nature itself.
 
 (i CRAYON PORTRAITURE, 
 
 Beside being classed among the accomplishments, it has 
 already become one of the most profitable of employments. 
 Thousands to day are engaged upon the periodicals, illus- 
 trated papers, art magazines, books, &c., which flood our 
 land; exhibiting not only their skill in this direction, but 
 contributing to others, beautiful views of natural scenery 
 in this and other lands ; the faces of public and prominent 
 men : beautiful forms and designs for home decoration, 
 for the brush, the pencil or the needle. 
 
 In fact every branch of trade and industry desire and 
 find it necessary to illustrate the wares they offer for sale, 
 so that drawing is indispensable to the practitioners of 
 almost every art, trade, or profession. 
 
 Many hand-books have been published from time to 
 time, treating of almost every branch or department in 
 the Fine Arts, but as yet no book of any practical value 
 lias ever appeared describing the method of Crayon 
 Portraiture in black and white. 
 
 The writer of this volume having been engaged for 
 many years in teaching this beautiful art, at the earnest 
 solicitations of his pupils has consented to publish this 
 treatise, hoping it will prove valuable and useful to all who 
 desire, or who would find pleasure in producing upon 
 canvas the human face in its ever varying forms, features, 
 and expressions.
 
 IN BLACK AND WHITE. 7 
 
 He has endeavored to give careful and comprehensive 
 instruction, pointing out the errors pupils are liable to 
 make at the start, giving the simplest details, many of 
 which will prove most useful to the student ; explaining 
 the entire method so thoroughly that any one of average 
 intelligence can, after a little practice, learn to execute a 
 Crayon Portrait of real merit. 
 
 That such a book will find a welcome the author feels 
 assured, and has no hesitancy in saying there are thousands 
 who will hail it with delight, and gain from it just the 
 knowledge they require to enable them to achieve excellence 
 in this most beautiful and fascinating accomplishment.
 
 CRAYON POBTRAITUBB, 
 
 CRAYON PORTRAITURE. 
 
 one who knows [nothing of the art of Crayon 
 Portraiture it seems not only very difficult, but 
 almost unattainable. In fact, many suppose some 
 natural gift is necessary to be able to produce the human 
 features in life-like form upon the canvas. Such, however, 
 is not the case. The writer has given instruction to 
 hundreds of pupils, many of whom are now practicing 
 this art as a profession, and instructing others. Any 
 one who can learn to write can learn to draw, but 
 yet it is necessary to have a special method in order to 
 work intelligently. The author purposes to give a series 
 of written instructions, which, if carefully followed, will 
 prove invaluable, to all who desire to achieve success.
 
 IN BLACK AND WHITE. 
 
 MATERIALS. 
 
 /|\NE of the first and most important factors toward 
 
 1 J J success is to have the proper materials, and of the 
 
 ,/ very best quality- Unlike most other branches of 
 
 Art, the materials for Crayon work are few in number 
 
 and inexpensive : 
 
 A Drawing Board, about 22x27. 
 
 An Easel. 
 
 A Rest Stick. 
 
 A piece of Chamois. 
 
 One soft rolled Chamois Stomp. 
 
 One dozen small Paper Stomps. 
 
 One stick of Square Conte Crayon, No. 3. 
 
 One stick of Round Conte 1 Crayon. 
 
 One stick of German Crayon, No. 2. 
 
 One piece of Conte 1 Rubber. 
 
 One Crayon Holder, (brass.) 
 
 A few sticks of Soft Charcoal. 
 
 One dozen Thumb Tacks. 
 
 A Block of Wood, 3x5, covered with fine Sand Paper. 
 
 A small Palette, covered with Chamois. 
 
 A Stretcher of Whatman's Paper. 
 
 A sheet of Manilla Wrapping Paper.
 
 10 CRAYON PORTRAITURE, 
 
 If it is desirable to save all unnecessary expense, many of 
 these materials can be of home manufacture. An inex- 
 pensive easel will answer the purpose quite well, and a 
 small slender cane will answer as a rest stick. The draw- 
 ing board can be obtained at any Art Store, or a carpenter 
 ba employed to make one at a small outlay. The block of 
 wood covered with fine sand paper, and the palette of 
 paste-board covered with Chamois are easily made. 
 
 The former will be found useful in cleaning and sharp- 
 ening the rubber and paper stomps. Another block may 
 also be made and covered with fine emory paper, to be used 
 in making a fine point to the German and Con to 4 Crayons 
 for point work. The palette is intended to be used for the 
 pulverized Crayon, or Crayon Sauce, as it is often called y 
 and when not in use should be carefully covered to keep 
 it free from dust. The small paper stomps are sometimes 
 called paperettes, and come in packages of a dozen or 
 more. They will be found very useful, and a much more 
 pleasing effect can be obtained than with the Chamois 
 stomp, especially upon the face. Avoid the hard pa{>er 
 stomps made of pulp; they are worthless.
 
 IN BLACK AND WHITE. 11 
 
 THE PAPER. 
 
 are many varieties of paper that can be eni- 
 ployed for Crayou Portraiture. Among these the 
 most used, are Whatmaus' Imperial and Double 
 Elephant, Eggshell, Steinbach, and the French tinted 
 papers ; and many fine effects are produced upon them all. 
 Almost every Artist has a choice, therefore no rule can be 
 laid do\vn to be followed implicitly. 
 
 The Whatmans' is however generally considered the 
 most desirable. Do not however attempt to use even this 
 by tacking it to a drawing board, but have it mounted on 
 a stretcher. The hard surface of the drawing board would 
 make irregularities in the work. These stretchers already 
 prepared can be obtained at the Art stores, where Artists' 
 Materials are sold. It is, however, presumed that many 
 who read these pages may reside so far from such supplies, 
 that it may seem desirable to understand how to make them
 
 I".' CRA.YOX PORTRAITURE, 
 
 TO MAKE A STRETCHER. 
 
 jROCURE a pine frame 20x24, or any other size de- 
 sired. Lay a sheet of Whatmans' paper upon the 
 drawing board, Avith the face side down, which can 
 be distinguished by the water mark in the paper, by hold- 
 ing it up to the light. Dampen it with a sponge or wet 
 towel, going over the entire surface of the paper; place 
 the pine frame upon it, and trim the edges of the paper 
 with a sharp knife about one inch larger than the frame. 
 Cut out the corners also. With a small brush put a little 
 flour paste upon the paper beyond the frame, and also 
 upon the edges of the frame. 
 
 Next with the fingers turn up the paper upon the nl-v- 
 of the frame as smoothly as possible, drawing out the la 
 wrinkles. Having turned all the edges up, take up the 
 frame carefully, and gently draw each of the four sides 
 one after the other, from the centre toward the corners, 
 and note that it ad hers firmly. It is not necessary to draw 
 it so tightly that it looks perfectly smooth, as if drawn too 
 tightly it would split ; the smaller wrinkles will all divap-
 
 IN BLACK AND AVHITE. 
 
 13 
 
 pear when it is thoroughly dry. Put this away in a cool 
 room, not by the fire, and in a few hours it will be ready 
 for use. 
 
 Care should be taken not to rub the paper on the side 
 upon which the drawing is to be made. Avoid also putting 
 the fingers on the face of the paper, as this would occasion 
 spots, causing injury to the work.
 
 14 CRAYON PORTRAITURE, 
 
 CRAYON SAUCE. 
 
 CRAYON Sauce, or Pulverized Crayon, is made in the 
 following manner: Take a stick of the No. 3 
 i square crayon, and rnb it on a piece of sand paper, 
 or a file, holding it over the palette, and allowing the fine 
 crayon thus made to fall upon the chamois palette. Make 
 quite a little quantity of this upon different parts of .the 
 palette. Avoid having any little pieces of the crayon chip 
 off , or if they do, grind them up by placing the crayon 
 stick upon them and crushing them. Make this sau< 
 fine as possible. Next take a paper stomp and mix or 
 grind the sauce until the palette is thorough 1\ saturated, 
 and it is ready for use.
 
 IN BLACK AND WHITE. 15 
 
 THE PHOTOGRAPH, 
 
 -4- 
 
 subject to be copied, should be the next consid- 
 eration. It seems necessary to give a little advice 
 upon this selection : 
 
 Do not attempt to copy a wood cut, they are often 
 faulty in drawing, are almost always flat; the copy would 
 be very unsatisfactory, and possibly discourage you from 
 further attempts. 
 
 Neither attempt for a first picture to copy a tin-type, 
 or a very small card de visile. It would be more difficult 
 to got a correct enlargement, and the shadows would not 
 be plainly defined. 
 
 A photograph from an ideal head would be the best 
 selection one could make for the first attempt. First, 
 because they are copies from a good crayon drawing, and 
 present the grain effect that is so desirable ; second, the 
 result would be pleasing even if the exact likeness had not 
 been attained. 
 
 This, however is optional with the student, but by all 
 means, if the subject selected is to be a family portrait, 
 select a good cabinet size photograph, one strongly defined, 
 and properly lighted, and the result will be satisfactory.
 
 CRAYON PORTRAITURE, 
 
 THE ENLARGEMENT. 
 
 jj% JAN Y artists use Solar Prints, and the working them 
 up lias been carried to considerable perfection. 
 &* i\) Certainly they can be finished with more rapidity, 
 as they save much labor in sketching the outline, and 
 it is much easier to obtain a correct likeness. The artist 
 has merely to give the crayon tint, strength and roundness, 
 with a little point work in the way of finish, and the por- 
 trait is complete. But such crayons are becoming moiv 
 and more unpopular, since the public have learned what the 
 process is, and an artist who works over solar prints 
 exclusively, does not take rank with those who make a 
 pure crayon portrait. They will always fade more or loss 
 when exposed for some time to the light, or turn a reddish 
 tint and after a few years are worthless, but a pure crayon 
 never changes. 
 
 The author is aware the above advice will meet with 
 opposition from all copying houses, and such as persist in 
 working over solar prints, but the facts are the samo. and 
 should be fairly stated. To such as may prefer to work 

 
 IN BLACK AND WHITE. 17 
 
 them, the method described in this volume will be ap- 
 plicable. 
 
 There are several ways of making the enlargement. A 
 solar print may be obtained and used for tracing, by black- 
 ing the back, and tracing with a stylus, as described later on. 
 
 Another method is by procuring a negative from the 
 photograph, a magic lantern used, throwing the picture 
 upon the stretcher the desired size, and tracing the outline 
 in the dark, with a piece of charcoal, after which it can be 
 finished up by the photograph. 
 
 In either or all cases, draw the outline upon a piece of 
 maiiilla wrapping paper, in order to make all necessary 
 corrections or alterations before transferring it upon the 
 stretcher. 
 
 There is a system of squaring off a picture for enlarge- 
 ment, which was much used by the old masters, and is 
 used to a great extent among the artists of to-day. It 
 consists in dividing the picture to be copied into squares of 
 i-quul size, and drawing squares upon the canvas or paper 
 as much larger as the desired drawing is to be larger than 
 the picture to be copied. Then, whatever is seen in each 
 square in the smaller picture, is to be drawn in the corres- 
 
 f id ing square upon the paper for the enlargement. 
 For Portrait Artists the system in its simple form is 
 t altogether practical, for the accuracy required in their 
 *
 
 18 CRA.YON POKT11A.ITUKE, 
 
 work, would necessitate the use of a large number of small 
 squares, making the work too laborious and confusing to 
 justify its very extensive use. 
 
 Other objections might also be brought to notice, but 
 an instrument overcoming all objections to this method of 
 enlargement, has been devised, and termed the Metroscope.
 
 IN BLACK AND WHITE. 19 
 
 THE METROSCOPE. 
 
 meaning of this term is a measured view. It 
 comprises several series of squares engraved upon 
 the fiuest plate glass by machinery, thereby being 
 perfectly accurate and durable. The two plates of 
 glass, (of which one form of the instrument consists), are 
 ruled for convenience with squares differing in size. These 
 are ('rained and held together by thumb screws, allowing 
 sufficient space between them for inserting and securing a 
 picture of the size of a cabinet photograph, which bring 
 the lines into perfect contact with all parts of the picture, 
 giving the appearance of the lines being actually drawn 
 upon the picture. One feature of this instrument which 
 renders the square system the most practical for general 
 use. consists of the division and sub-division of the squares 
 by liner dash and dotted lines. The eye more naturally 
 divides a line or space into halves and quarters, than any 
 other proportions, and for this reason the dash lines have 
 been designed for quartering the main squares, and the 
 doited lines for quartering the squares thus formed. This 
 gives sixteen times as many squares for use as are .drawn
 
 '.Mi CRAYON POiniarn RE, 
 
 upon the paper, or are seen upon the glass at a little dis- 
 tance, and therefore will not cause any annoyance when 
 the main or quarter squares only are desired to be used. 
 
 The benefit derived from this combination is the per- 
 fect ability of the draughtsman, with a little practice, to 
 begin immediately to put in the values or principal shades 
 of the picture, without having to make the entire outline 
 of the drawing. A mere outline in the first place belongs 
 only to drawing in proportion, and not in projection, as the 
 shadows determine the latter. At a glance the form, size, 
 depth and location of shadows are seen in relation to the 
 squares of the instrument. Their location upon the paj>er 
 is determined by the main squares drawn upon it-, and 
 other properties by means of the small squares. Where 
 the greatest accuracy and most detail is required, lines 
 forming the smallest squares may be drawn in at such 
 places as are deemed necessary. 
 
 As many photographs stretch in the process of mount- 
 ing in one direction more than the other, causing faces to 
 appear either too long or too wide, this distortion should 
 be corrected in the enlargement. When it is ascertained 
 in what direction, and to what derive ;l picture is stretched, 
 the squares may be made longer in an opposite direction 
 upon the pajnir, to correct this distortion. 
 
 An ordinary cylindrical lensjnay be used in deter-
 
 IN BLACK AND WHITE. 
 
 21 
 
 mining in what direction arid to what degree a face is 
 distorted. 
 
 The L or Differential Square has been devised to be 
 used for squaring off the paper. It is of great assistance 
 in rapidity and accuracy, and may also be adjusted to ex- 
 tend or contract the squares sufficiently to correct what- 
 ever distortion may exist in a photograph.
 
 fllVYON PORTRAITI l;i:, 
 
 THE PANTOGRAPH. 
 
 HIS machine for enlarging or reducing pictures and 
 drawings was said to have been invented in 1G03, 
 but it has since undergone many modifications and 
 improvements. It consists of four metallic or wood en liars 
 or rules, each rule being perforated with a series of holes 
 I y which they can be connected together by means of 
 thumb screws. It is provided with a tracing and amarking 
 point, and a screw or point which is forced into the draw- 
 ing board to hold the instrument in position. 
 
 They are usually numliered from 1 to 20, on the four 
 ban indicating 8U6B. There an- a great variety of these 
 instruments for sale, and many of the cheaper ones are 
 worthless, the holes not being placed in the right po.-i 
 The cheap instruments which sell for twenty cents may he 
 clas-ed among the niiinl>er. For about &;2.00 a good 
 pantograph can he purchased at the Art Stores, and with 
 proper care it will last a lifetime, and alwa\s l>e at hand 
 whene\er an outline is desired. 
 
 The tluimli screws when placed in the number in one 
 bar should always correspond with the number on the oppo- 
 site one. otherwise a distorted outline would be the result.
 
 IN BLACK AND WHITE. 23 
 
 111 enlarging from a very small picture as a card photo- 
 graph, the higher numbers will be required, say 15, 17, or 
 even 18. But Cabinet or Imperial photographs can usually 
 be enlarged to life-size by using the numbers of 12 or 14. 
 
 To use the instrument, select the number desired, secure 
 it to the drawing board at the left hand side, place a piece 
 of manilla wrapping paper at the other end of the board 
 and secure it with thumb tacks. Next place the marking 
 point in the centre of the paper, after which place the 
 photograph under the indicating point in the centre also, 
 iind secure it to the board. This indicating point should 
 always touch the photograph, and if it does not, place a 
 little weight on the instrument, a silver half dollar, or if 
 this is not sufficient add a few smaller coins, until this 
 point just touches the photograph. 
 
 Now guide the instrument by taking hold of the mark- 
 ing point, but watch the tracing point. In this manner 
 go over the entire photograph, putting in as many of the 
 details as may seem necessary, indicating the position of 
 the shadows, the folds in the drapery, the masses in the 
 hair, and all other features, until a perfect enlargement is 
 the result. 
 
 This can now be transferred to the stretcher as follows :
 
 CRAYON" POKTUAITTKE, 
 
 THE TRANSFER. 
 
 the outline is finished and all corrections 
 made, rub the back of the paper over with a piece 
 . . of charcoal, covering it thoroughly: shake it 
 slightly that the fine particles may fall off, then place it 
 carefully on the stretcher. Measure the distance from the 
 side of the head and shoulders on each side, as well as the 
 top and bottom, and when the drawing is in the centre of 
 the stretcher, or in the proper position, secure the four 
 corners to the stretcher, by means of thumb tacks, or little 
 weights, that it may not slip while tracing it. Next take 
 a stylus or a hard and sharp lead pencil, and bearing on 
 gently, trace over all these outlines again, following them 
 very accurately, and omitting none. Remove the thumb 
 tacks, lift the paper off gently, and a perfect outline of 
 the original will be found upon the stretcher. This out- 
 line being simply charcoal, will rub off with the slightest 
 touch, and thus be destroyed ; therefore place the stretcher 
 upon the easel, and with one of the small paper stomps 
 slightly blackened in the crayon sauce, go over all these 
 outlines once more very lightly, in order nbt to lose tlu-in 
 while at work upon the portrait. Do not make these lines 
 hard, or they will show when the picture is finished, and 
 thus spoil the effect of the work.
 
 BLACK AND WHITE. 
 
 25 
 
 LIGHT. 
 
 work to the best advantage proper light is necessary. 
 
 A north light is considered the most desirable. 
 
 Place the easel in such a position by the window 
 as to allow the light to fall upon the stretcher from the 
 left side. There is one advantage however in crayon work 
 over oil or water colors, and that is it can be executed in 
 the evening under a strong light equally as well.
 
 20 CRAYON PORTRAITURE, 
 
 THE METHOD. 
 
 of the first steps in all branches of art work is to 
 P u fc i' 1 the values ; that is the darker shadows. 1'ay 
 no attention to the high lights, they will take care of 
 themselves. It may be well to state now the necessity of 
 working at all times and upon all parts of the picture very 
 lightly, as hard rubbing will produce :i muddy effect. The 
 lighter the touch the more transparent and beautiful the 
 result. 
 
 Take one of the paper stomps, put it in the brass 
 holder, rub it thoroughly in the crayon sauce, twisting it 
 around until it is entirely covered with the sauce, on the 
 point and tapering end : apply this first to the pupils of the 
 eyes, the nostrils, and the line through the centre of the 
 mouth. Next with a broad stroke (not a sharp one) to the 
 lids of the eyes, the dark shades in the ears, and the eye- 
 brows, following the outlines very carefully. The stomp 
 having now cleaned itself somewhat is ready for the values 
 in the face. In applying it to these shadows, do not use 
 the point as you would a pencil, but rather broad strokes.
 
 IN BLACK AND WHITE. 2? 
 
 Tint the iris of the eyes, the shadows under the eyes, the 
 curve in the nose and around the nostrils. Do this in little 
 short strokes in one direction first, parallel to each other, 
 afterwards crossing them at an acute angle, never at right 
 angles. The shades in the cheeks and forehead are next 
 in order, in the same manner. The work will appear 
 rough and spotty at first, but these values are necessary. 
 The cleaning up will be described later on. In shading 
 the cheeks commence each stroke at the outline, working 
 inwardly, and these may be curved slightly, hatching in 
 the same manner at an acute angle boldly, yet so lightly 
 that real lines are avoided. Look the face over thoroughly 
 and put in all the darker shades, but not as strong as they 
 will be required, as the work will look more transparent 
 liy irradually strengthening them, rather than in attempt- 
 ing to produce the proper strength at first. 
 
 Next put in the values of the hair, not in fine lines, but 
 in broad strokes with the chamois stomp, but in this there 
 should bo no hatching. Make all the strokes in the direc- 
 tion in which the hair is combed. Leave the high lights 
 as in the face, for the present. Watch the photograph 
 closely, and put them on in the right place. In putting 
 on any and all of these darker shades, either in hair, face, 
 or drapery, always commence at the darkest part of such 
 and let the stomp move in the direction of the
 
 28 CRAYON PORTRAITURE, 
 
 lighter. Now turn to the drapery. A black broadcloth 
 coat, or a silk dress, should be worked in the same manner 
 except it may be the latter can be finished a trifle finer. 
 The drapery may be worked up with the chamois or paper 
 stomp. The method of work is the same, as above des- 
 cribed ; short broad strokes crossing at an acute angle. 
 Be careful not to make the strokes all one way. 
 
 In ending off the drapery, great cure must be ob- 
 to have it grow lighter and lighter until it is lost entirely. 
 It must not have the appearance of being cut off abruptly. 
 
 The background should be worked up in the same 
 manner as the coat, only not so dark. Or it can be put in 
 with the chamois pad, slightly tinted with the crayon sauce, 
 and applied with a circular motion, commencing at the coat 
 and face, and working away from them, gradually growing 
 lighter and lighter, having no abrupt ending. Never make 
 the background around the entire head in a bust picture, 
 even if the subject has gray hair this is not necessary : it 
 will have too much of a photographic appearance. Make 
 the darkest background next to the highest light of the 
 face. Artists differ very much in opinion u]>on the subject 
 of backgrounds, and almost every one has a style of their 
 own. Again nearly every portrait requires a different one, 
 but generally all that is necessary is a light transparent 
 atmosphere, varying in depth to suit the subject. A strong
 
 IN BLACK AND WHITE. 29 
 
 face well defined, and with dark hair and eyes, will bear a 
 stronger background than one of a little child. 
 
 The drawing now, if the above directions have been 
 followed carefully, has all the values, or principal shadows 
 in their proper places. The next steps to be taken will 
 improve its appearance.
 
 30 CRAYON 1'oUTKAIITKK, 
 
 THE DRAPERY. 
 
 drapery should receive its finishing touches first 
 in order, leaving the face for the last. Take the 
 chamois stomp, using the cleanest end, and borrow- 
 ing color from the values, sweep it gently and lightly across 
 the high-lights, in different directions, crossing them 
 occasionally as previously described. Note the subject 
 carefully and follow the modeling, to give the proper 
 roundness, in the lappels of the coat, or folds in the di 
 Having borrowed from the values, they may now nerd 
 strengthening again. If the work thus far is very uneven, 
 take the contd rubber with a fairly sharp point, aii'l clean 
 off the larger spots, using the rubber in the same manner 
 as the stomp, hatching over these spots until the entire 
 drapery is comparatively even, and of one general tone. 
 darker toward the shoulders and neck, and ending \erv 
 lightly if the subject be a vignette, otherwise of course 
 cover the whole in imitation of the original. I'.ut Uist 
 portraits should always be vignetted. Details are not. 
 required in drapery, except perhaps the part nearest the 
 face, as the collar, necktie, or other neck trimming-.
 
 IN BLACK AND WHITE. 31 
 
 Neither attempt to imitate too closely the different styles of 
 materials composing the same, except it may be in the 
 forms of the folds, and the manner in which the light 
 strikes them. By observing this rule it will not be difficult 
 to decide of what material the drapery is composed. 
 
 To produce the effect desired the paper stomp should 
 be used. Commence with considerable color, in the 
 strongest shades first, hatching in short strokes, tolerably 
 open, but not too much so. This produces a light and 
 transparent appearance. It also gives depth, enables one 
 to look into them, which would not be the effect if rubbed 
 in too hard and closely. The entire drapery should be 
 worked up in this manner, using the rubber to clean off 
 the spots, filling up the lighter places with the stomp 
 whenever required, and strengthening the extreme shadows, 
 where they require it, by adding more color to the stomp. 
 Do not leave the outlines of the shoulders too sharp, but go 
 a little beyond them lightly to produce a soft and natural 
 effect. 
 
 Study the original and you will notice generally a shade 
 on the collar, and shirt-front ; put these in evenly with the 
 paper stomp. Lace work should not be followed with too 
 much detail, but made somewhat indistinctly, with a piece 
 
 chamois slightly tinted, taking out the whiter spots or 
 igures with the rubber, working for a general effect, as to
 
 32 CRAYON PORTRAITURE. 
 
 the design of the figure, having it as a whole very delicate 
 and soft. Many artists use white crayon in lace or em- 
 broidery work, but it is gradually going out of use. If a 
 very strong white is required in any part of the drapery, 
 or lace, and the rubber is not effectual in removing the 
 crayon, take a very sharp knife and scrape the paper until 
 the proper effect is produced. 
 
 If after following all these instructions the drapery 
 does not appear quite as even or regular as may seem 
 desirable, take the round cont crayon, and sharpen one 
 end of it to a very fine point, place it in the brass holder, 
 and go very lightly in little short strokes over the imperfect 
 places, until the appearance is satisfactory.
 
 IN BLACK AND WHITE. 33 
 
 THE BACKGROUND. 
 
 should next claim attention, and should bo 
 worked up in precisely the same manner or method, 
 as described in the drapery, only not as dark, except 
 the subject should have a white dress, then this rule should 
 be reversed. This subject however is almost inexhaustible. 
 The face is what should first attract the eye in a portrait, 
 and anything which detracts from that, will injure the 
 general effect, whether it be an elaborately finished collar, 
 or pin, or a striking back-ground. Bear in mind that 
 every other part of the picture is merely an accessory to 
 the face, and therefore shall not have undue prominence. 
 If the picture be a Rembrandt it will bear a strong 
 back -ground upon the side of the face where the light is 
 strongest, while upon the darker side it should be lighter. 
 Cloud rifts make a very pretty and effective back-ground 
 for some subjects, but the outer and upper sides must 
 always fade away with the utmost delicacy. A very sharp 
 point may be used in cleaning up a back-ground if found 
 necessary to give it an even tone. A few pictures will 
 bear a solid black back-ground. This is made by first 
 going over the entire surface of the paper or stretcher 
 3
 
 34 CRAYON PORTRAITURE, 
 
 around the picture, with a pad of chamois moderately 
 blackened with the sauce, after which take the square could 
 crayon No. 3, place it on the broad flat surface of the side, 
 and rub with a circular motion until the paper will hold 
 no more. Then with the two fingers of the right hand go 
 over it with the same circular motion until the surface is 
 one unbroken mass of black. Be careful not to overrun 
 the outlines and get spots on the face or drapery. Repeat 
 this if necessary until the proper deptli is produced. 
 
 Another method, if a greyish tint is desired, is to pro- 
 ceed as above with tlie black crayon, after which take a 
 piece of soft white crayon, place it upon the stretcher in 
 the same manner and proceed to rub this over the black, 
 afterwards blending it with the fingers as before, and the 
 result will be a grey, varying in shade in proportion to the 
 predominance of the white or black. All such backgrounds 
 however are easily injured, and should be framed and 
 placed under the glass as soon as possible. 
 
 The subject of Scenic or Landscape backgrounds will 
 be treated under its respective head.
 
 BLACK AND WHITE. 
 
 THE HAIR. 
 
 (N shading the hair only use the stomp in one direc- 
 tion, or back and forth if the crayon does not adhere 
 to the paper \rell, and the effect will be seen at once. 
 Endeavor to give the soft flow which hair should have. 
 Avoid all lines, or any attempt to make individual hairs, 
 as this would cause hard and wiry appearance, and destroy 
 the softness and beauty of the picture. 
 
 Hair is best represented as it is in natu e, in locks and 
 masses. Borrow from the darker shades, and tint over 
 the high lights with the chamois stomp, a little darker 
 than necessary, and afterwards take out these high lights 
 with the broad surface of the rubber. It may be found 
 necessary to use the paper stomp before obtaining the proper 
 finish, especially in working around the ou side or outline 
 of the head to complete its softness. 
 
 The color of the hair can only be represented by the 
 different decrees of shade. White hair can be made ex- 
 ceedingly soft by usin very little color, and doing most of 
 the work with the rubber. 
 
 Mustache or whiskers are made in the same manner, in
 
 30 
 
 CRAYON PORTRAITUKE, 
 
 masses, taking out the high lights with the rubber. Occas- 
 sionally a few lines or single hairs may be put on with the 
 point, both in the hair or the whiskers, when the picture is 
 nearly finished, but all such must be put in very sparingly. 
 The drapery, background, and hair are supposed to be 
 complete, excepting possibly a few finishing touches in the 
 final softening effect.
 
 IN BLACK AND WHITE. 3? 
 
 THE EYES. 
 
 AKE the paper stomp slighly tinted with color, and 
 proceed to finish the eyes. Bear in mind, the 
 method of applying this to all parts of the features 
 should be in short strokes, very lightly crossing them at 
 an acute angle, using care not to have them too oblique, 
 and never at right angles. Begin with the upper lids, 
 darken them slightly, and working upward and away from 
 them toward the eyebrows. Strengthen the pupil all that 
 is possible, and proceed to tint the iris, making the upper 
 part of it darker in shade than the lower, as there is 
 always a shadow cast upon it by the eyelid. The lower 
 lid should not consist of a line, it is formed by the shading 
 above and below it. Study very carefully the original 
 picture, and note all the peculiarities of form and expres- 
 sion. Leave the catch lights in their proper places if 
 possible. This, however, is optional, as they can easily be 
 made after they eyes are finished by scratching them with 
 a knife ; or they can be put in witli Chinese White on the 
 tip of a brush. Darken the corners, and tint very lightly 
 the ball, this should never be left perfectly white. If during
 
 38 CRAYON PORTRAITURE, 
 
 the work, any part becomes too dark, or spots are left, 
 lighten such, and take off the spots with the rubber. 
 
 The eyebrows should be put on in the same manner as 
 the hair, but be careful to tone them down to the proper 
 depth gradually, and preserve the form or shape. Next 
 take a clean paper or chamois stomp, and pass it smoothly 
 and broadly back and forth over the lids of the eyebrows, 
 going a little beyond the latter on the forehead. This 
 tends to give softness, and blends these shadows off into or 
 toward the hi^h lights, thus giving the roundness desired. 
 In the iris, there should be opposite the catch light, a 
 lighter tone called reflected light; the remainder of the 
 iris should be shaded to a greater or less degree, according 
 to the subject. The pupil can now be strengthened by 
 using the cont& crayon point, making it a very deep black.
 
 IN BLACK AND WHITE. 39 
 
 THE NOSE. 
 
 COHERE should always be a dark shadow under the 
 *IJ i eyebrows toward the nose; borrow from this to 
 
 , shade the sides ; put in the nostrils, using care to 
 have them the proper shape, but not quite so large as the 
 outline, as the remainder will work into a half tone when 
 blending, and give the proper roundness. Work away 
 from them now and give the curves to the lower part of 
 the nose, and blend the nostrils until the proper shape is 
 produced. Carry up the tones toward the eyes and off 
 slightly toward the cheeks. 
 
 Remember if a wrong movement is made, or too much 
 color put on, the rubber will soon restore it to its proper 
 tint. Leave the easel occasionally and view the work from 
 a little distance. 
 
 In all well lighted photographs, one side of the face is 
 in stronger shadow than the other, this must be noticed in 
 shading the nose, and if carefully executed and well 
 modeled the nose will appear to stand out from the face in 
 a natural manner.
 
 40 CRAYON PORTRAITURE, 
 
 THE MOUTH. 
 
 is one of the important features of the face, 
 and great care should be exercised not to lose the 
 expression in working it up. 
 Firmness and strength in the masculine and sweetness 
 and delicacy in the feminine. Do not make a hard line 
 through the lips, but begin at the corners, make those the 
 strongest, working from them with a lighter touch to the 
 centre, where the greatest fullness lies, and at this central 
 point there is generally a slight curve, which must be 
 carefully preserved. Make the shadows, half tints, and 
 lights, in exact imitation of the original. Avoid all hard 
 outlines in the lips, by working np to the outlines very 
 carefully ; in fact there is not a single line in the whole 
 face. Seeming lines or bounderies are caused by the sharp 
 approach of light and shade.
 
 BLACK AND WHITE. 41 
 
 THE FOREHEAD. 
 
 HE process of putting in the shadows in the forehead, 
 is precisely the same as has already been described ; 
 
 . short strokes, slightly curved at the temples ; clearing 
 off the spots, and filling up the large lighter spots, until 
 the work looks clean and yet moderately open. Soften 
 the hair where it falls upon the forehead, or where it joins 
 the face about the temples. Do not be afraid of losing 
 the line of where the hair commences, or the forehead 
 begins. It wants to be lost. It must be soft to make the 
 picture artistic and natural. Generally the strongest 
 light in any picture is on the forehead. 
 
 If the subject should be that of an elderly face, many 
 wrinkles will be noticed. These are put on boldly at first 
 with the paper stomp in their exact position, after which 
 soften them above and below, with a clean stomp, and if 
 too strong lighten them with a finely pointed rubber.
 
 42 CRAYON PORTRAITURE, 
 
 THE FACE. 
 
 IE blending of the values in the face should now 
 receive attention. The deepest shades should not 
 be carried to the eztreme outline of the face. 
 There is always a reflected light which -will escape the 
 notice of the beginner, if strict attention is not given. 
 
 This is often the case in the. forehead and the chin as 
 well as the cheeks. 
 
 Remember there must be no distinct or abrupt ending 
 of any shadow, each one must blend off gradually into the 
 other, or in the high light. As a general rule the high 
 lights should not be left with the pure white shade of the 
 paper. They should all be tinted, although so lightly it 
 will be almost impossible to decide whether they have re- 
 ceived any tint at all. There are many half tones how- 
 ever which must be preserved. No special instructions are 
 required in regard to the ears, the work should be the same 
 as described for the other features ; preserve the form and 
 shape of the shadows, and blend to give softness and 
 roundness.
 
 IN BLACK AND WHITE. 43 
 
 FINISHING. 
 
 final finishing touches can now be given. Look 
 the work over carefully, and soften ah 1 the outline 8 
 or outer edges of every part of the picture. Do this 
 with the small paper stomp, fairly clean. Examine all the 
 deeper shades, and strengthen all that may seem to re- 
 quire it, or lighten such as may be too dark. 
 
 The stomp and rubber will alone be required for this 
 work. It would be well to rub the paper stomp on the 
 block of sand paper to soften it slightly. The rubber 
 should also be trimmed with a knife, after which rub off 
 the sharp edges on the sand paper, and have it moderately 
 sharp at the point. If any white spots are noticeable in 
 any of the shadows, either in the face, drapery, or back- 
 ground, fill those up to the desired tone with the stomp. 
 If any of the hatching appears too broad or too open, fill 
 that up slightly. Take out any desired high lights in the 
 hair with the rubber, as such are much more effective than 
 they would be if any attempt was made to leave them 
 during the progress of working. 
 
 Any outline that appears too hard or cutting, soften it
 
 44 CRAYON PORTRAITURE, 
 
 by working upon the edges a little beyond, for every part 
 must be round and soft. There must also be strength as 
 well as softness ; and color of the eyes or hair, can alone 
 be represented by light and shade. 
 
 It is these finishing touches which will, in a great 
 measure, give to the portrait its life and beauty. Study 
 your picture from a distance, and note when a few touches 
 will improve its appearance. Examine the drapery, the 
 high lights on the collar, or the lace, clear up any places 
 that may have become rubbed, and leave no spots or specks 
 to mar the clear and even effect of the work. These lit- 
 tle touches may seem insignificant, but they will greatly 
 enhance its value. 
 
 In conclusion, remember that skill can only be acquired 
 by continued practice. Be willing to spoil several pictures 
 if necessary, to acquire the art at last. Consider it a neces- 
 sity to learn to draw. In " Hunt's Talks on Art," he says : 
 " Any one who can make the letter D, can learn to draw. 
 Learning to draw is learning the grammar of a language." 
 Study the faces upon the street, note the shadows and 
 high lights, and thus become familiar with the human 
 features. Read these instructions over carefully and 
 studiously, and follow them step by step, for no amount of 
 labor is too great to accomplish the object desired. 
 
 It might bo well to advise the student to make several
 
 IN BLACK AND WHITE. 45 
 
 outlines of the same subject. In the first one put in the 
 values, making them comparatively clean, and blending 
 the edges off upon the high lights. Leave it in this un- 
 finished state. 
 
 In the second, put in the same values, strengthening and 
 modeling them, to give the roundness and form. The 
 third and fourth should be carried each one a little farther 
 toward completion, and the last one may be finished in all 
 its details. Hang these up side by side in the order in 
 which they come, and they will be found of great practical 
 value, as a key from which to obtain such knowledge as 
 may be desired ; while the practice itself will enable you 
 to use the stomps with greater freedom.
 
 46 CRAYON PORTRAITURE. 
 
 POINT WORK. 
 
 fANY artiste do not use the point in finishing a 
 crayon portrait, and even such as do employ it, 
 ^nearly all have a method peculiarly their own. 
 In all cases however it should be done with a long finely 
 pointed crayon, very lightly. 
 
 It is often used in a gliding motion in different directions, 
 so lightly and so openly that the grain of the paper only 
 catches the crayon, but great care must be taken to pre- 
 serve the evenness of the tone, leaving no spots that are 
 darker than the others. Again a very fine effect is pro- 
 duced by lightly hatching the face, after the manner of 
 using the stomp, curving the strokes in the direction of 
 the fibers of the flesh ; namely, horizontal on the forehead, 
 perpendicular on the nose, and circular around the eyes, 
 mouth and general contour of the face. All such strokes 
 should begin lightly, and end lightly, and should be regular 
 and parallel to each other, crossing at acute angles. But 
 all point work requires a vast amount of practice, and it 
 would be best for the student to become proficient in 
 stomp work, before attempting the use of the point By 
 proper use of the paper stomp and rubber, an effect can be 
 produced almost if not quite equal to the point.
 
 IN BLACK AND WHITE. 47 
 
 FULL LENGTH PORTRAITS. 
 
 wgf'ULL length portraiture is a different branch of 
 /J l| work, and requires more study. Yet it is generally 
 If the desire of every artist who acquires skill in por- 
 trait work, to be able to execute a fuller half length figure. 
 
 The first requirement will be to draw the enlargement. 
 A Solar Print may be obtained and used to trace the out- 
 line, but these are quite expensive. The system of squares 
 described in this work is an excellent one. The outlines 
 having been obtained, transfer it to the stretcher according 
 to the directions heretofore given, and preserve them with 
 the paper stomp. A large, soft rolled, chamois stomp 
 will be the most convenient for the drapery and back- 
 ground, in putting in the values, but in finishing and 
 blending, the paper stomp may again be employed. 
 
 The chamois rolled up in a little pad is often used in 
 putting in these values, as greater rapidity is the result. 
 Care should be exercised however not to rub too hard, or 
 the effect would be muddy, and also use it with a circular 
 motion. White dresses are generally worked up entirely
 
 48 CRAYON PORTRAITURE, 
 
 with a small piece of chamois, and the broad surface of 
 the rubber, to take out the high lights. Avoid details in 
 lace work, and do not use white crayon, the white paper is 
 the most effective. 
 
 The same rules may be applied to head dresses, bonnets, 
 feathers, or flowers. These are all worked up in the same 
 manner, and the rubber is one of the most important 
 factors for the high lights. 
 
 Heavy robes of velvet should first be made with the 
 chamois pad, after which apply the stick of No. 3 crayon, 
 putting it on in a solid mass, and then blending it with 
 the fingers. In such kind of drapery, the white crayon 
 may be applied to the high lights in the same manner as 
 the black, and using the finger to blend it with the black, 
 to form the half tones in modeling, after the manner of 
 Pastel work. In full length portraits more of the details 
 are worked up, such as necklaces, chains, or ornaments on 
 the dress, and the paper stomp will here be found the 
 most useful.
 
 N BLACK AND WHITE. 4 '.I 
 
 SCENIC BACKGROUNDS. 
 
 length portraits require as a general rule a 
 scenic background. Yet care must be exercised that 
 the figure must be the principal object, and not the 
 background. It should be quiet and unobtrusive, receding 
 far behind the head of the portrait. Any objects that may 
 be introduced should be shadowy and indistinct. If a 
 landscape background is desired, the trees and shrubbery 
 should be light and indistinct, excepting in the immediate 
 foreground, where a little greater attention may be given 
 to the details. Interiors are sometimes introduced with 
 pieces of furniture or drapery. Such may be worked up 
 much darker, after the manner described in the drapery of 
 the figure, with the crayon stick and fingers. 
 
 Stone columns are worked with the paper stomp and 
 rubber, giving it the appearance of rough stone, by putting 
 on the color in little rough dashes or spots, and taking out 
 the high lights with the rubber in the same manner. 
 4
 
 50 
 
 CRAYON PORTRAITURE, 
 
 There is no end to the variety of scenic backgrounds, 
 and it would be impossible to describe the scenes or objects 
 that may be introduced which might be in harmony with 
 the subject. Such must be left to the taste and skill of 
 the artist. They may go through all the possible grada- 
 tions from a shadow on a wall, to the depth and obscurity 
 surrounding a figure standing in an open door or window. 
 
 The only instructions to be given may be summed up in 
 these words ; preserve the same delicacy and softness that 
 is described in working up the figure ; avoid all hard lines 
 or abrupt endings, and have the entire background sub- 
 servient to the figure.
 
 IN BLACK AND WHITE. 51 
 
 TO FIX CRAYON DRAWINGS. 
 
 much has already been written upon this 
 subject, and there is great danger in any and all the 
 methods. The safer plan is to leave the work in its 
 simple state, and protect it by a frame and glass. Many 
 of the methods of fixing result in a flattening of the tones 
 and high lights, thus destroying its brilliancy and depth, 
 often making it necessary to retouch many parts of the 
 picture to give it additional force. But if found desirable 
 in order to preserve a number of drawings, the " Fixative," 
 for sale at the Art Stores will be found the most convenient.
 
 52 CRAYON PORTRAITURE, 
 
 GENERAL REMARKS. 
 
 " ASTER the foregoing instructions in their entirety, 
 
 and follow them carefully. The practice thus 
 r | \Jderived will train the hand to follow the dictation 
 of the eye. 
 
 To write or copy any written language the hand must 
 first be taught to follow the forms of each letter, and the 
 same may be said to be true in drawing ; the practice will 
 enable the hand to make the necessary strokes without 
 any hesitation or uncertainty. The object of this treatise 
 has been to give practical instruction, in as simple a 
 manner as possible, and it now remains for the student to 
 make the best use of the information given. 
 
 Practice and perseverance will enable any one of average 
 intelligence, combined with a love for the art, to obtain 
 excellence in executing natural and life-like portraits.
 
 IN BLACK AND WHITE. 53 
 
 LANDSCAPE DRAWING. 
 
 - 
 
 MT is presumed that many who read the foregoing 
 pages, and put into practice the instruction given, 
 . will naturally feel inclined to take an occasional 
 excursion for pleasure, and sail away from the imitative 
 art, or the simple copying from drawings and photographs, 
 and look around for natural objects to reproduce upon 
 the sketch book. The principles of landscape or object 
 drawing are the same as described for the human face. 
 It must have first the outline, and then light and shade ; 
 the outline gives the form and shape, while the light and 
 shade give the roundness and strength. Sketch the outline 
 boldly, yet as accurately as possible, with a lead pencil, or 
 better still \rith a piece of charcoal. Do not take hold near 
 the point, but at the farther end, very loosely, to give perfect 
 freedom to the arm and hand. Charcoal can be very easily 
 removed from the paper by using a soft piece of flannel, 
 therefore make all corrections necessary ; when complete,
 
 54 CRAYON PORTRAITURE, 
 
 save them by going over them lightly with the paper stomp. 
 NexL put in the masses or values. This can be done 
 with the charcoal if desired, and strengthened with the 
 stomp in the same manner described in putting in the 
 values in the human face. Leave all details for the finish- 
 ing. For sky or clouds, use the chamois pad, or a soft 
 chamois stomp ; the flat tints of trees or mountains the 
 same. 
 
 After putting in all the values, the detail work may com- 
 mence. Use the small paper stomps for all such, but u-ry 
 little detail must be put into a landscape, except the 
 iin mediate foreground. All outlines must be soft and indis- 
 tinct. The foliage of trees can be made very effective 
 with the stomp and rubber. The point can be used if 
 desired in cleaning up the spotty places, or the whole 
 picture worked over with the point, in short, regular, blunt, 
 but soft lines, thus giving the inclinations of mountain 
 slopes, or rugged rocks. But a much softer effect will be 
 produced with the stomp, excepting in very deep or rich 
 shadows ; then use the point, and cross hatch to give the 
 necessary strength. But after all the rules or instructions 
 laid down in this book were formed from practice, and 
 although the student may feel content to receive this 
 instruction from another, yet the best method, and the 
 most \aluable instruction, is ]M<.\< n< i..
 
 IN BLACK AND WHITE. 55 
 
 CHARCOAL DRAWING. 
 
 use of charcoal for landscape or figure drawing 
 is becoming more and more popular every year. Its 
 use is easy to learn, and the results are very satis- 
 factory. It is one of the modern arts ; the old masters 
 employed it for sketching principally, although there are 
 in existence a few examples in simple charcoal. 
 
 The paper is of a different quality or grain from that 
 used on crayon work. It should be of a yellow white tint, 
 and a fine and even grain. If too rough the charcoal will 
 catch too strongly, while on the other hand if it is too 
 smooth, it will not produce a good shading. Like paper 
 for crayon work, it should be stretched. The materials 
 necessary are the small paper stomps, a chamois stomp, 
 linen and woolen rags, bread crumbs, and the rubber. 
 The sticks of charcoal considered the best are the French, 
 either the Gonte" or Rouget. There are two methods, the 
 first when the stomp is used throughout the entire draw- 
 ing ; the other by i sing the sticks sharply pointed, and 
 cross hatching, discarding the stomp entirely.
 
 56 CRAYON POKTKA TITHE, 
 
 The former is the most popular, and will make the 
 softer picture. Take one of the larger sticks, cut the end 
 flat and broad, and commencing on the top of the stretcher, 
 make an even and regular tone over the whole surface of 
 the paper. Now take the first three fingers of the right 
 hand, and commencing at the bottom, spread the charcoal 
 over the paper, going from right to left, until the whole 
 is one flat tone, resembling a wash of india ink. 
 
 If this leaves the tone too dark, go over it with the 
 clean linen rag, softly ; this operation of putting on the 
 charcoal and using the fingers or rag, may be repeated 
 until the desired depth of tone is produced. 
 
 The next step is to put in the deeper tones or masses 
 with the charcoal stick, and rubbing it down with the 
 stomp. This process may often have to be repeated several 
 times to get sufficient depth. The high lights are obtained 
 by using the woolen rag for the half touts, and the rubber 
 or bread crumbs for the stronger lights. Work up details 
 afterward with a piece of finely pointed charcoal. 
 
 Although the tones of charcoal are more opaque than 
 crayon, yet they possess a velvety richness and softness 
 which crayon will not give, and for landscape drawing it 
 is especially valuable. It has other advantages over oil or 
 water colors ; being dry it necessitates no delays, and there- 
 fore a landscape can be drawn with wonderful rapidity.
 
 IN BLACK AND WHITE. 5? 
 
 Any part that is unsatisfactory can be easily effaced ; in 
 fact the drawing may be a succession of alterations, 
 changes, modifications of tone or shade, until it meets 
 approval. It is often used in portrait work, and especially 
 is it adapted for the portraits of children, where delicacy 
 and softness are essential. 
 
 The entire process of working in charcoal is so simple 
 that scarcely any instructions are necessary. All charcoal 
 drawings must be fixed, and if care is used the most con- 
 venient method is direct fixation. This Fixatif can be 
 obtained at the Art Stores, and is used by blowing a fine 
 spray over the drawing, as perfumes are diffused through 
 an atomizer. It may be necessary to repeat the operation 
 several times, waiting each time for the paper to dry. 
 Charcoal drawing, it should be remembered, must only 
 render effects, not details. 
 
 The amateur will find this the most difficult lesson to 
 learn. To illustrate this point we quote the following from 
 a celebrated teacher. " You see a beautiful sunset, and a 
 barn comes into your picture. Will you grasp the whole 
 at once, in a grand sweep of broad sky, and a broad mass 
 of dark building, or will you stop to draw in all the shingles 
 on the barn, perhaps even the nails on each shingle ; pos- 
 sibly the shady side of each nail ? Your fine sunset is all 
 gone while you are doing this." Forget the little things
 
 58 CRAYON PORTRAITURE, 
 
 in a picture, and try to see only the grand broad masses, 
 and put off all details until the last; and if it should 
 happen that every feather on a bird was not in exact posi- 
 tion, or one leaf lacking on a tree, it will not be noticed. 
 With a paper stomp, a piece of charcoal, and a piece of 
 rubber, a picture can be made, and a beautiful one too, 
 without a line or scarcely a bit of detail in it. 
 
 In closing this treatise it may be well to say, do not 
 become discouraged after the first few efforts ; if the desire 
 to learn to draw is strong, rest assured success will come 
 by patient practice. Do not confine yourself to the in- 
 structions contained in this work. Do not be afraid to try 
 experiments, and see what the effects may be. In this way 
 one's own individuality will show in the results, and such 
 results will be valuable because they are original.
 
 BLACK AND WHITE. 59 
 
 CONCLUSION. 
 
 may hardly seem necessary to add to this treatise 
 anything more in the way of instruction. Doubtless 
 many who read these pages will undertake the study 
 of Portraiture as an amusement or recreation simply. 
 But the author would advise the student to make it a 
 serious study, and not rest content after being able to exe- 
 cute a moderately fair portrait. Every year shows an 
 increasing interest in all Art matters, and Portraiture 
 should be considered in the light of an accomplishment. 
 The fact that others are far ahead, should only act as 
 an incentive for greater labor and study. 
 
 The student should bear in mind there are two distinct 
 lessons to be learned in following the instructions here 
 given ; first the method of work, or the manner of putting 
 the crayon upon the paper ; second, to preserve the exact 
 likeness of the original. Therefore study the subject 
 thoroughly and carefully; this is very essential in obtain-
 
 60 CRAYON PORTRAIT L' I ! I-:. 
 
 ing a correct and pleasing likeness. If this has been 
 attended to in the early stages of the work the likeness 
 will not be difficult of attainment. The object and aim 
 of this treatise has been to present the instruction in the 
 simplest manner possible, knowing full well that the 
 smallest details often prove the most valuable to the 
 student.
 
 IN BLACK AND WHITE. 61 
 
 (JEWELERS' -JOURNAL, 
 
 57 Waslpinqbop Shrccb,
 
 

 
 UCLA-Art Library 
 
 NC 860 C8