,crayon ,portraiture4 ,illustration3 ,,free-,,hand ,,crayon ,,made ,,on ,,steinbach ,,crayon ,,paper--,,stipple ,,effect ,,in ,,face1 ,,broken ,,line ,,effect ,,in ,,background4 ,,by ,j4 ,a4 ,,barhydt4 ,,crayon ,,portraiture ,,complete ,,instructions ,,for ,,making ,,crayon ,,portraits ,,on ,,crayon ,,paper ,,and ,,on ,,platinum1 ,,silver ,,and ,,bromide ,,enlargements ,,also ,,directions ,,for ,,the ,,use ,,of ,,transparent ,,liquid ,,water ,,colors ,,and ,,for ,,making ,,french ,,crystals ,,by ,j4 ,a4 ,,barhydt ,,author ,,of ,,article ,,on ,,crayon ,,portraiture ,,in ,appleton's ,annual ,cyclopedia1 #ahij4 ,illustrated ,revised and ,enlarged ,edition ,,new ,,york ,,the ,,baker ,,taylor ,,co4 #cc-cg ,e4 #ag,,th ,,street1 ,,union ,,square ,,north ,,copyright1 #ahhf ,,and #ahib ,,by ,j4 ,a4 ,,barhydt ,,robert ,,drummond1 ,,printer1 ,,new ,,york ,,preface4 ,in issuing this second treatise on ,crayon ,portraiture1 ,liquid ,water ,colors and ,french ,crystals1 for the use of photographers and amateur artists1 ,i do so with the hope and assurance that all the requirements in the way of instruction for making crayon portraits on photographic enlargements and for finishing photographs in color will be fully met4 ,to these ,i have added complete instructions for free-hand crayons4 ,this book embodies the results of a studio experience of twenty-four years spent in practical work1 in teaching1 and in overcoming the everyday difficulties encountered1 not alone in my own work1 but in that of my pupils as well4 ,hence the book has been prepared with special reference to the needs of the student4 ,it presents a brief course of precepts1 and requires on the part of the pupil only perseverance in order that he may achieve excellence4 ,the mechanical principles are few1 and have been laid down in a few words2 and1 as nearly all students have felt1 in the earlier period of their art work1 the necessity of some general rules to guide them in the composition and arrangement of color1 ,i have given1 without entering into any profound discussion of the subject1 a few of its practical precepts1 which1 it is hoped1 will prove helpful4 ,while this book does not treat of art in a very broad way1 yet ,i am convinced that those who follow its teachings will1 through the work they accomplish1 be soon led to a higher appreciation of art4 ,although this kind of work does not create1 yet who will say that it will not have accomplished much if it shall prove to be the first step that shall lead some student to devote his or her life to the sacred calling of art8 ,it has been said that artists rarely1 if ever1 write on art1 because they have the impression that the public is too ill-informed to understand them--that is1 to understand their ordinarily somewhat technical method of expression4 ,if1 therefore1 in the following pages ,i may sometimes seem to take more space and time for an explanation than appears necessary1 ,i hope the student will overlook it1 as ,i seek to be thoroughly understood4 ,my hope with reference to this work is that it may prove of actual value to the earnest student in helping him reach the excellence which is the common aim of all true artists4 ,j4 ,a4 ,,barhydt4 ,,contents4 ,,page4 ,preface ix ,crayon ,portraiture #ae ,photographic ,enlargements #ai ,crayon ,materials #bb ,the ,specific ,use of ,crayon ,materials #be ,the ,strainer #cj ,mounting ,crayon ,paper and ,platinum and ,silver ,enlargements #cb ,mounting ,bromide ,enlargements #cg ,outlines--,negative ,outline #ci ,magic ,lantern ,outline #db ,transfer ,outline #df ,the ,metroscope #dg ,the ,pantograph #di ,crayon ,effects--,the ,four ,methods of making ,backgrounds #ea ,free-hand ,crayons and those made from ,photographic ,enlargements #ec ,filling in the ,free-hand ,crayon #ee ,line ,effect #eg ,stipple ,effect #ei ,backgrounds--,general ,principles #fb ,first ,method of making the ,background--,stump ,effect #fe ,second ,method of making the ,background #ff ,third ,method of making the ,background--,line ,effect #fg ,fourth ,method of making the ,background--,stipple ,effect #gj ,face--,line ,effect #gb ,dress--,line ,effect #gf ,bromide ,crayons #gh ,finishing ,bromide ,enlargements #hb ,monochromes #hh ,values #hi ,the ,studio #ic ,framing #ie ,passepartout ,mounting #ig ,,transparent ,,liquid ,,water ,,colors ,,for ,,coloring ,,photographs4--,,materials ,,required ,,in ,,their ,,use #aja ,theory of ,color #ajc ,colors #ajf ,yellow #ajf ,blue #ajg ,rose #ajh ,violet #aji ,magenta #aji ,flesh #aaj ,brown #aaj ,black #aaa ,gold #aaa ,instructions for using ,liquid ,water ,colors #aab ,drapery #aad ,landscape #aaf ,the ,principle #aag ,,french ,,crystals #abc ,materials #abd ,the ,method #abe ,mounting ,french ,crystals #abf ,finishing ,photographs in ,india ,ink #abh ,conclusion #acj ,,list ,,of ,,illustrations4 ,,page4 ,free-hand ,crayon made on ,steinbach ,crayon ,paper with a ,magic ,lantern ,outline1 showing ,stipple ,effect in ,face and ,drapery and ,broken ,line ,effect in ,background ,frontispiece ,negative ,outline--,dark ,chamber #dj ,mc,allister's ,magic ,lantern1 ,no #fec1 with ,wonder ,camera ,attachment #db ,magic ,lantern ,outline #dc ,lines to produce ,stipple ,effect #fj ,background--,line ,effect #fg ,line ,effect for ,face #gb ,line ,effect for ,dress #gf ,crayon executed over ,bromide ,enlargement made from ,original ,negative1 showing ,stipple ,effect throughout #hj ,illustration ,,crayon ,,portraiture4 ,to many who know nothing about the art of crayon portraiture1 the mastery of it not only seems very difficult1 but almost unattainable4 ,in fact1 any work of art of whatever description1 which in its execution is beyond the knowledge or comprehension of the spectator1 is to him a thing of almost supernatural character4 ,of course1 this is more decided when the subject portrayed carries our thoughts beyond the realms of visible things4 ,but the making of crayon portraits is not within the reach alone of the trained artist who follows it as a profession4 ,i claim that any one who can learn to write can learn to draw1 and that any one who can learn to draw can learn to make crayon portraits4 ,making them over a photograph1 that is1 an enlargement1 is a comparatively simple matter1 as it does not require as much knowledge of drawing as do free-hand crayons4 ,but you must not suppose that1 because the photographic enlargement gives you the drawing in line and an indistinct impression of the form in light and shade1 you are not required to draw at all in making a crayon portrait over such an enlargement4 ,some knowledge of drawing is necessary1 though not a perfect knowledge4 ,many people err in supposing that only the exceptionally skilled can produce the human features in life-like form upon the crayon paper4 ,while recognizing great differences in natural aptitude for drawing in different persons1 just as those who use the pen differ widely in their skill1 some being able to write with almost mechanical perfection of form1 ,i still hold that any one who is able to draw at all can succeed in producing creditable crayon portraits2 and the lack of great skill as a draughtsman1 should neither discourage a student nor debar him from undertaking to make crayon portraits 7over enlargements1 at least71 either as an amateur or professional4 ,to make a crayon from life undoubtably requires considerable talent and some education as an artist2 but photography1 in recent times1 has made such advances from the old fashioned daguerreotype to the dry plate process and instantaneous exposure1 and such developments have recently been made in the field of enlargements and in photographic papers1 that it is now possible for anyone1 who will carefully follow the plain instructions given in the following pages1 to make a good crayon portrait by the aid of the different kinds of enlargements4 ,these place in his hands a perfect reproduction of what he wishes to make2 and care and close attention to details will insure the rest4 ,the student1 however1 must have courage4 ,i tell my pupils not to be afraid to work freely2 that if they spoil their work beyond their ability to redeem it1 ,i can always fix it up and restore it for them2 and that they should go ahead confidently4 ,the reader may say that he has no teacher to help him out of his difficulty2 but he must remember that he has the photographic enlargement as a sure guide1 and that whenever he fears he is losing the outline1 he can see at once what he is doing1 by holding the enlargement against the light with its back towards him4 ,my experience as a teacher has shown me that pupils1 as a rule1 are timid1 especially that class which works mostly on enlargements1 resulting from the fear of losing the outline and from lack of a thorough knowledge of drawing4 ,i especially urge the necessity for boldness and freedom in execution4 ,as an expert in chirography can read character in handwriting1 so the artist's public will judge him from his work4 ,if he is1 in fact1 weak and timid1 these traits will find expression in what he puts on paper4 ,let courage1 then1 be an important part of your equipment1 if you would succeed in doing good crayon work4 ,,photographic ,,enlargements4 ,there are three kinds of photographic enlargements used as a basis for crayon portraits1 and1 with a little experience1 the student can determine for himself which kind will prove the most satisfactory4 ,free-hand crayons are made on ,steinbach and other crayon papers1 without any photograph as a basis4 ,silver enlargements are made on paper coated with a solution of chloride of silver1 which the action of the light reduces to salts of silver4 ,this is the oldest form of photography1 and has been used since its introduction by ,scheele in #aggh4 ,silver enlargements are made by the aid of the sun 7and are then called solar enlargements7 or they can be made with the electric light4 ,platinum enlargements are a recent advance in photographic printing with iron salts1 the process which has been worked out and patented by ,w4 ,willis1 ,jr41 being a development of such printing4 ,its principle is that a solution of ferrous oxalate in neutral potassium oxalate is effective as a developer4 ,a paper is coated with a solution of ferric oxalate and platinum salts and then exposed behind a negative4 ,it is then floated in a hot solution of neutral potassium oxalate1 when the image is formed4 ,this process was first introduced by ,mr4 ,willis in #ahgd1 and he has since made improvements4 ,he claims that the platinotype paper does not contain any animal sizing4 ,the early experiments convinced him that the paper upon which the image was to be printed would prove an important factor1 as all photographic paper contained animal sizing1 which was found to be antagonistic to platinum salts4 ,the action of platinum salts upon a paper containing animal sizing gave it a tint which no amount of acid washing could remove4 ,for the past nine years ,mr4 ,willis has had manufactured for his special use a ,steinbach paper1 free from the animal sizing1 and he also uses a cold developer1 thereby causing the paper to retain its original elasticity4 ,the chief points of difference between bromide enlargements and silver or platinum enlargements are that1 in the former1 we have the sensitive compound of silver suspended in a vehicle of gelatin1 and1 in the latter1 a thin coating of an aqueous solution of the sensitive salts4 ,in the former process1 the image is not shown until the paper has been developed in the bath1 while in the latter1 the image is shown upon the paper when it is exposed to the light2 so that1 in the latter1 the image or picture has only to be fixed or made permanent1 while in the former1 it is developed1 then fixed4 ,the gelatin bromide paper is coated with a solution of gelatin1 bromide of potassium and nitrate of silver1 developed with a solution of oxalate of potash1 protosulphate of iron1 sulphuric acid and bromide of potassium and water1 and fixed with hyposulphate of soda4 ,it is manufactured in ,america by ,e4 and ,h4 ,t4 ,anthony ,co4 and by the ,eastman ,dry ,plate ,company4 ,,crayon ,,materials4 ,the following materials will be found necessary for crayon work3 ,a good photographic enlargement1 ,easel1 ,mahl stick1 ,three inch magnifying glass1 ,square black ,conte crayon1 ,nos4 #a1 #b and #c1 ,charcoal holder for the same1 ,hardmuth's black chalk points1 ,nos4 #a1 #b1 #c1 #d and #e1 ,holder for the same1 ,box ,faber's crayon points1 ,nos4 #a1 #b and #c1 ,holder for the above crayons1 ,conte crayon1 in wood1 ,nos4 #j and #a1 #f ,b4 ,faber's holder for ,siberian lead pencil points1 #d ,h4 ,faber's holder with ,siberian lead pencil point1 ,velour crayon1 ,peerless crayon sauce1 ,black ,conte crayon sauce1 in foil1 ,white crayon1 in wood1 ,bunch of tortillon stumps1 ,large grey paper stumps1 ,small grey paper stumps1 ,the ,peerless stump1 ,large rubber eraser1 #d inches by #c-d inches square1 bevelled end1 ,two small nigrivorine erasers1 ,holder for nigrivorine erasers1 ,piece of chamois skin1 ,cotton batting of the best quality1 ,a sheet of fine emery paper1 ,a sharp pen knife1 ,one pound of pulverized pumice stone1 ,mortar and pestle1 ,a large black apron1 ,paste-board box about ten inches square and two inches deep1 ,back-boards for mounting crayon paper and photographic enlargements1 ,pliers1 ,paste brush1 three inches wide1 to be used for starch paste or for water4 ,experience has taught me that we cannot be too particular in giving directions as to the materials for our work1 and therefore ,i have carefully included in the above list everything necessary to thoroughly equip the student4 ,while the magnifying glass mentioned above is not an actual necessity1 still a good one will be found very useful1 as it will often show details in the photograph which would not be discovered by the naked eye4 ,my male readers may at first object to so feminine an article as an apron1 but it will be found thoroughly useful1 and ,i am sure they will never consent to abandon it after they have once become accustomed to wearing it4 ,,the ,,specific ,,use ,,of ,,crayon ,,materials4 ,i will now explain the specific use and nature of these materials1 reserving the various kinds of photographic enlargements and their special qualities and advantages1 for treatment under their different manipulations4 ,the easel should be set so that the light strikes the picture at an angle of #ij deg41 and1 when working from a side light1 it will very often be necessary to darken the lower part of the window to accomplish this result4 ,the mahl stick is held in the left hand1 and is used as a rest for the right arm in working4 ,though a trifle awkward and difficult at first1 its use must1 nevertheless1 be learned1 as the hand will not be steady without it1 especially in portrait work4 ,the square black ,conte crayons are for filling in where there are large dark places4 ,the ,no4 #a is used with the black ,conte crayon sauce in making the crayon sauce 7to be applied with the ends of the fingers7 to produce a broad effect and to make the stipple effect on the paper after it has been rubbed with pumice stone4 ,the crayon points1 ,nos4 #a1 #b and #c1 are used in making outlines and also in putting in the lines to produce the line effect4 ,in general1 they are to be used in free-hand crayons and on silver and platinum enlargements4 ,the ,hardmuth black chalk points are similar to the crayon points1 and1 if preferred1 should be used according to the directions given for the crayon points4 ,the ,hardmuth points are made in five numbers and will1 therefore1 produce more shades of black than the crayon points4 ,they are also twice as long as the latter1 without costing any more4 ,the ,conte crayons1 in wood1 are used for finishing the crayon1 especially the ,no4 #j1 its hardness adapting it to that purpose4 ,the #f ,b4 ,faber's holder1 for lead pencil points1 is for holding the ,faber's ,conte crayon ,no4 #j after it has become short1 the wood being carefully removed before the crayon is placed in the holder4 ,the #d ,h4 holder1 with ,siberian lead pencil point1 is used in the very finest work on bromide paper1 for finishing in the light places4 ,care must be employed not to use too much lead on the paper1 as1 being of a different color from the crayon1 it would show if too freely applied4 ,it is also used in making monochromes4 ,velour crayon is very black4 ,it is only used to produce a velvet effect and whenever it is necessary to make a very strong dark--that is1 a dark that is deeper than an ordinary shadow4 ,the ,peerless crayon sauce is the same as the crayon sauce made from ,no4 #a ,conte crayon and the black ,conte crayon sauce in foil4 ,it is made and put up in bottles by ,f4 ,w4 ,devoe ,co41 and can be bought of any dealer in artist's materials4 ,it will be found more convenient to get it in this form than to prepare it in the studio2 it costs no more and saves the expense of a mortar and pestle4 ,as it is ground by machinery and passed through a very fine screen1 there are no small hard particles in the preparation1 and its use is recommended4 ,black ,conte crayon sauce1 in foil1 is used in making the crayon sauce to be applied with the fingers4 ,white crayon1 in wood1 is for touching up the high lights of white drapery1 and especially for the high lights on white lace2 it is to be used very sparingly4 ,tortillon stumps are used in making the face1 when it is desired to produce the stump effect1 and also in making the hair4 ,the large grey paper stump serves to make the broad effect of shade in the stump effect in the hair and dress4 ,the ,peerless stump is used to produce the same effect as the large grey paper stump4 ,it will be found far better than the paper stump for work on the bromide paper1 as it is made of softer material and causes the crayon to adhere to the paper more readily4 ,the large rubber eraser is to put in the broad effects of light in the background and dress4 ,the small nigrivorine erasers are used when it is necessary to remove the crayon1 in order to produce small decided lights--principally in making free-hand crayons and to produce the line effects over a platinum and silver enlargement4 ,while the stumps are used for putting on the crayon1 the erasers are used to remove it4 ,the chamois is also used for removing the crayon1 to produce broad effects of light4 ,the cotton is for applying the crayon sauce to the paper and for rubbing the crayon at different stages in the completion of the picture4 ,the crayon cannot be removed with the eraser unless it has first been rubbed with the cotton2 and this must be borne in mind1 as the use of the eraser at this stage would only result in making a black line or spot1 when it was intended to produce a white line or spot4 ,it will also be well to make a chamois block for applying the crayon sauce1 to be worked with the tortillon stump4 ,this is done by tacking onto a block1 four inches long1 two inches wide and three-quarters of an inch thick1 a piece of chamois skin1 three inches wide by five inches long1 allowing it to cover the top1 while it is fastened along the four edges4 ,this is placed face down in the box of crayon sauce and rubbed around in it1 so that the crayon will adhere thoroughly to the chamois4 ,emery paper is used to sharpen the nigrivorine erasers and the crayon points4 ,the knife1 which is a very important tool1 should be a good one1 always kept well sharpened4 ,the best for this work is an ink eraser1 with a rounding point1 a long edge on one side of the blade and a short one on the other side1 extending about an inch from the point4 ,the mortar and pestle are for pounding or grinding the ,conte crayon ,no4 #a and the crayon sauce1 in making the special crayon sauce mentioned above4 ,the paste-board box is intended to hold this special crayon sauce or the ,peerless sauce4 ,the back-boards are one inch thick1 made to fit the back of the strainer 7described in the next chapter71 and are used in mounting4 ,it will be necessary to have three different sizes1 the most useful being #aaae1 #aeai and #aibd inches1 to fit1 respectively1 strainers measuring #afbj1 #bjbd1 #bdbi and #becj inches4 ,the pliers should be either what is known as shoe-maker's pliers 7which are the cheapest7 or the canvas pliers1 used in stretching that material2 they are needed to stretch the cloth on the strainer4 ,the pulverized pumice stone is used in preparing the surface of crayon paper and bromide enlargements1 to produce the stipple effect4 ,,the ,,strainer4 ,the strainer1 on which crayon paper or any kind of photographic enlargement is to be mounted1 should be the same size as the intended picture4 ,the frame is made of four strips of pine wood1 two inches wide1 one inch thick on the outside1 and three quarter inch on the inside1 making a quarter inch bevel on the inside edge of the face2 these are nailed together and glued4 ,to this1 tack a piece of bleached muslin1 free from knots and rough places1 which has been cut two inches larger each way than the frame4 ,use six ounce ,swede upholsterers' tacks1 placing one in the centre of the outside edge of one side and another directly opposite1 stretching the muslin as firmly as possible with the fingers4 ,then place a third tack in the centre of the outside edge of the top1 and a fourth in the centre of the bottom of the frame1 stretching as before4 ,in finishing1 use the pliers in addition to the fingers1 and remember that you must always stretch from the centre towards the corner or you will have wrinkles in the muslin4 ,as this process should be thoroughly understood1 ,i will give minute directions for completing the operation4 ,having already placed the four tacks as above1 stand the strainer on its bottom edge on the floor1 with the back towards you1 and put in the fifth tack two inches to the right of the third1 that is1 the one on the top previously mentioned4 ,instead of stretching the muslin directly back in a straight line towards you and at right angles to the fourth tack1 you must draw it with the fingers towards the right hand corner4 ,then finish stretching1 and tacking this edge to the right hand corner of the top1 placing the tacks two inches apart and taking care to only draw the cloth sufficiently to have it perfectly smooth and straight on the edges1 leaving the stretching to be done with the pliers2 then turn the strainer on the side edge and tack at two inch intervals from the centre of the other 7that is the upper7 side to the right hand corner1 same as before1 and then tack half of the bottom edge and half of the other side in the same way4 ,you will observe that you now have only one half of the muslin tacked--that is1 one half on each edge--and you then complete the tacking1 using the pliers to thoroughly stretch the muslin4 ,this method has the advantage that you can stretch the muslin on the strainer and get it on better and in less than half the time required by the old method2 also that you stretch the whole surface of the muslin with the pliers1 and do it with only half the work4 ,,mounting ,,crayon ,,paper ,,and ,,platinum ,,and ,,silver ,,enlargements4 ,wet in clean water a piece of muslin about two inches larger each way than the paper you intend to mount1 and lay it on the mounting board or table1 removing all the wrinkles with a wet brush2 then place the paper on this cloth1 face down1 and with some water and a brush1 wet the back of the paper1 continuing to use the brush until all the wrinkles are entirely smoothed out and the paper lies down perfectly flat4 ,any number of pieces of paper can be wet at the same time by placing one over the other1 provided the larger sizes are laid down first and each is brushed out flat before another is placed over it4 ,let the paper soak for about fifteen minutes4 ,after having removed the surplus water from the paper with a cloth1 sponge or squeegee1 apply starch paste to the paper with a paste brush1 going over it thoroughly1 until it has received an even coat of paste free from lumps4 ,then lay one of the back-boards on a table and1 having placed the strainer down on it face up1 give the cloth of the latter a coat of paste1 using the same care you did in going over the paper1 taking pains to have the edges of the cloth well pasted1 and to remove1 by passing your finger all around the outside edges of the strainer1 any paste which may be there4 ,now pick the paper up and place it on the pasted surface of the strainer1 which an assistant should hold tipped towards you4 7,the help of an assistant will be found almost indispensable in mounting74 ,after the paper is in the proper place1 lay the strainer down and secure each corner of the paper1 by first lifting it slightly and then rubbing it down with a clean cloth from the direction of the centre towards the corner you have lifted up4 ,with a sharp knife trim off the edges of the paper and set it away to dry1 but neither near a fire nor in too cold a place4 ,you can very often save the remounting of a paper by occasionally glancing at it as it dries and by gently rubbing down a little with the fingers any places that look as if they would not stick4 ,very often the paper will be all right with the exception of this difficulty at one edge or corner4 ,this is invariably the lower part1 and is caused by the water settling there4 ,it is therefore advisable to change the position of the strainer two or three times as it dries1 letting it stand on different edges4 ,after the paper is dry1 if there are any places that have refused to stick fast to the cloth1 it will be impossible for you to remedy the matter1 and you must remount it4 ,you proceed1 therefore1 to remove the paper from the cloth4 ,this you do by turning the strainer face down and filling the back of it with warm water1 allowing it to remain there until you think that the paste has become thoroughly dissolved2 then turn the strainer over and carefully remove the paper4 ,if it should not come off readily1 fill the strainer again with water1 and soak it until it will come off4 ,after you have removed the paper1 lay it on a wet cloth1 and with a case knife clean off the starch1 using care not to injure the surface of the paper1 and also clean off the starch from the strainer2 then proceed to remount as before4 ,when you once understand that you cannot spoil an enlargement on account of defective mounting1 you will work more confidently4 ,after you have tried three times to remount1 and the paper still insists in not sticking1 you must take a new strainer1 as too many wettings will have spoilt the cloth and wood4 ,sometimes there seems to be a difference in the stretching qualities of the enlargement and cloth1 which makes it impossible to produce a perfect cohesion4 ,when1 therefore1 it has been remounted three times and does not come out perfect1 your best course is to mount a piece of crayon paper on a new strainer1 and after it is thoroughly dry to then mount the enlargement on that4 ,this you do in the manner described for mounting in the first instance1 directly on the strainer1 except that you do not coat with paste the crayon paper already mounted4 ,it sometimes happens1 that after the paper has been mounted and dried1 it is discovered that lumps in the paste have caused defects to appear on the face of the paper in the shape of raised surfaces that unfit it for the intended purpose4 ,these can be entirely removed by wetting the back of the strainer with some clean water immediately behind where the lumps of paste are1 and with a knife scraping the cloth a little at these places2 the surplus paste will work itself out through the cloth4 ,the starch paste used in mounting should not be made very thick2 on the contrary1 it should be as thin as is consistent with still retaining all its adhesive qualities4 ,should you fear that it is too thick or lumpy1 strain it through a piece of cheese cloth4 ,in a former edition of this book ,i advised adding to the paste a little white glue dissolved in warm water1 but ,i do not now consider this necessary for crayon paper or photographic enlargements1 and do not recommend its use except for mounting paper of unusual thickness4 ,the foregoing directions for mounting apply to platinum or silver enlargements1 crayon or other kinds of paper1 but not to bromide enlargements4 ,the bromide paper requires a different method of handling on account of the gelatin surface1 which when wet is destroyed by contact with any dry substance1 as the latter removes the gelatin4 ,for determining the proper position of photographic enlargements 7bust pictures7 on the strainer1 the following scale will be useful as a general guide4 ,when the size of the strainer is #afbj1 #bjbd1 #bbbf1 or #becj inches1 the distances from its top to the top of the head of the portrait should be respectively #c-a_/b1 #d1 #d-a_/b and #e-a_/b inches4 ,,mounting ,,bromide ,,enlargements4 ,the first requisite for this is a water-tight tray1 large enough to hold the enlargements4 ,a hard rubber tray can be purchased1 or a wooden one that will answer the purpose may be made4 ,i use one of my own construction that is cheap and serviceable4 ,it is simply a wooden box1 #bgcb inches and #d inches deep1 made of #a_/b inch grooved material and lined with black oil cloth1 not cut at the corners1 but folded in4 ,in this1 when about half full of water1 lay the enlargement face up1 and let it remain in the water fifteen minutes4 ,it should then be laid face down on the wet cloth 7which should be all ready7 as described in the preceding chapter1 for mounting crayon paper4 ,care must be exercised to have the cloth wet all over1 for if there should be any dry spots in it they would ruin the gelatin surface4 ,with a cloth or squeegee remove the water from the back of the enlargement and also from the cloth around its edges1 for if there is too much water on the edge of the cloth it will work up into the paste and prevent it from sticking when mounted4 ,now paste the enlargement and strainer according to the directions given for mounting crayon paper1 place the enlargement on the strainer and rub it down by using the fingers wet in a little water1 or the squeegee can be used2 and then trim off even with the outside of the strainer4 ,avoid rubbing too hard along the edges1 as by so doing you will press out all the paste and it will not stick4 ,you can remount a bromide enlargement as often as necessary in case it does not come out perfect1 only bear in mind that you must not allow anything dry to touch the surface when wet4 ,but ,i should not advise you to try more than three times directly on the strainer4 ,it would be better to mount a piece of crayon paper on a new strainer1 and after it is dry to remount the bromide enlargement on that4 ,,outlines--,,negative ,,outline4 ,after the crayon paper has been mounted on the strainer and dried1 the next step is to obtain the outline4 ,i will first treat of free-hand crayons1 taking it for granted that the reader is not able to produce crayons from life1 but works from a photograph4 ,there are five different methods of making an outline1 from which the reader can make his own selection4 ,illustration3 ,,negative ,,outline--,,dark ,,chamber4 ,from the ,annual ,encyclopedia4 ,copyrighted1 #ahia1 by ,d4 ,appleton ,co4 ,make a negative from the photograph that is to be enlarged1 and construct for a room that is entirely dark1 with the exception of one window1 a dark inside shutter1 with an opening in it the size of the negative you intend to use4 ,place a cleat on each side and at the bottom of this opening1 so that the negative may be made to slide in front of it4 ,having removed the ground glass from your camera box1 fasten the latter against the shutter so that the opening comes in the centre of the box4 ,you can fasten it with four hooks and eyes1 or arrange cleats on the shutter and pieces on the box1 so that it will slide into place4 ,be sure and have the box come tight against the shutter so that the light will be entirely excluded4 ,place the negative over the small opening in the shutter and adjust the camera box2 then stand the easel with the crayon strainer on it at the proper distance to give the required size of the enlargement and focus the image sharp on the crayon paper4 ,the strainer must stand at the same angle as the shutter2 that is1 if the shutter is perpendicular then the strainer must stand perpendicular also4 ,then go over the outline and shadow lines with the charcoal1 after which open the shutter and examine the outline and see if it is right4 ,as you are working in the dark you are apt to overlook some lines4 ,if you have done so you can close the shutter again and make them4 ,if it proves to be all right go over it with the crayon point ,no4 #b4 ,,magic ,,lantern ,,outline4 ,illustration3 ,mc,a,l,l,i,s,t,e,r ,,magic ,,lantern1 ,no4 #fec1 ,,with ,,wonder ,,camera ,,attachment4 ,from the ,annual ,encyclopedia4 ,copyrighted1 #ahia1 by ,d4 ,appleton ,co4 ,illustration3 ,,magic ,,lantern ,,outline4 ,from the ,annual ,encyclopedia4 ,copyrighted1 #ahia1 by ,d4 ,appleton ,co4 ,this is the method ,i am using at present in my own free-hand crayon work1 and prefer because it does not require a negative4 ,i use a ,mc,allister ,magic ,lantern1 ,no4 #fec1 with a wonder camera attachment4 ,this attachment enables you to make an enlargement from a cabinet or card photograph1 and to dispense with a negative4 ,if you intend to do very much free-hand crayon work ,i should advise you to get one1 as it will soon pay for itself4 ,the lantern should be put in working condition according to the printed directions that come with it1 and placed on your table4 ,i use a table six feet long1 sixteen inches wide1 and thirty inches high4 ,nail to one side of the table1 four inches from the end1 a stick six feet long1 one inch wide1 and one-half inch thick1 using two two-inch brads4 ,one end of the stick should rest on the floor1 care being taken that it stand perfectly perpendicular1 a square being used if necessary to secure this result4 ,the stick will have a length of #db inches above the table1 which will be ample for the use of a #be by #cj strainer4 ,place the strainer1 with the crayon paper mounted on it1 facing outward on its bottom edge on the table and nail it fast to the stick with two brads1 letting it stand at right angles with the edge of the table with its back towards the lantern1 which is at the other end of the table4 ,the object of placing the strainer with the back towards the lantern is that the image must show through the strainer or the outline would be drawn reversed4 ,draw a charcoal mark on the back of the strainer vertically through the centre1 and mark the proper distance from the top of strainer horizontally where the top of the head should come4 ,now move the lantern until you have it the proper distance from the strainer to make the head the size desired1 and afterwards focus the features sharp and distinct1 using the charcoal marks for the proper place to make the head1 the vertical line coming through the centre of the face2 then1 seated at the end of the table1 in front of the strainer1 make a charcoal outline as in the former method4 ,of course the magic lantern can be used for producing an outline only at night1 or in a perfectly darkened room4 ,the following table will prove a safe guide to follow in determining the size of the head for bust pictures4 ,the distance from the roots of the hair on the forehead to the bottom of the chin should be3 ,for #ad by #ag inch pictures1 #d inches1 #af #bj #d-a_/b #ah #bb #e #bj #bd #f #bb #bg #f-a_/b #be #cj #g #bi #cf #g showing the hands4 ,,transfer ,,outline4 ,for this method an enlargement made from the photograph is required1 but it needs to be an enlargement of the head only--that is1 a #aaad inch enlargement of the head will answer for a #becj inch crayon portrait1 and serve as a guide to work from in making the crayon4 ,transparent tracing paper 7made of fine tissue paper1 oiled with clarified linseed oil and then dried17 is laid on the enlarged photograph1 and the outline gone over with a soft lead pencil4 ,the tracing paper is then turned and its back is rubbed all over with charcoal1 when it is laid charcoal side down on the mounted crayon paper1 and carefully fastened with four thumb tacks4 ,the lines first made are then gone over with a sharp pointed lead pencil4 ,when the tracing paper is removed a perfect outline in charcoal is found to have been made4 ,this should then be gone over with the crayon point ,no4 #b4 ,the rest of the portrait is sketched in from the original picture4 ,,the ,,metroscope ,comprises a series of squares accurately engraved upon the finest plate glass by machinery4 ,the two plates of glass 7of which one form of the instrument consists71 are ruled for convenience with squares differing in size4 ,these are framed and held together by thumb screws1 allowing sufficient space between them for inserting and securing a picture the size of a cabinet photograph4 ,the lines are thus brought into such perfect contact with all parts of the photograph so that they appear to be drawn on it4 ,one feature of this instrument which renders the square system very practical1 consists of the division and sub-division of the squares by dotted lines and dash lines4 ,the eye naturally divides a line or space into halves and quarters1 and for this reason the dash lines have been designated for quartering the main lines1 and the dotted lines for quartering the squares thus formed4 ,this gives sixteen times as many squares for use as are drawn upon the photograph4 ,a method based on the same principle as the metroscope1 but not requiring the use of that instrument1 may be pursued1 as follows3 ,fasten the photograph to a board1 mark the space at the top1 bottom and sides into one-quarter inch divisions1 and drive sharp pointed pins in each of the division marks4 ,taking a spool of white thread run it across vertically and horizontally from each pin to the one opposite1 and you will then have the photograph divided into one-quarter inch squares2 then1 if your enlargement is to be six times the size of the photograph1 take the mounted crayon paper and divide the sides and top and bottom in #a-a_/b inch squares1 run thread across the same as for the photograph1 and then proceed to draw the outline1 first in charcoal1 and afterwards with the crayon4 ,the spaces marked on the crayon paper should in each case1 of course1 be as many times greater than those marked on the photograph as the intended enlargement is greater than the photograph4 ,,the ,,pantograph4 ,this instrument for enlarging or reducing a picture was invented about the year #afjc4 ,it consists of four metallic or wooden bars or rules1 which are perforated by a series of holes 7numbered from #a to #bj71 and connected together by means of an adjustable thumb screw4 ,the instrument is provided with a tracing and a marking point1 and a screw or point which is forced into the drawing board to hold the instrument in position4 ,a good pantograph will cost about two dollars2 those of a cheaper grade are entirely worthless for practical use1 while a good one will last a life time4 ,a little experience will enable any one to learn the use of the numbers4 ,to employ the instrument select the number on the bars corresponding to the number of times the subject is to be enlarged1 and connect the adjustable ends of the bars so that they intersect at this number2 secure the pantograph to the drawing board at the left hand side2 place a piece of manilla paper at the other end of the board and secure it with thumb tacks1 taking care to smooth all the wrinkles out4 ,next adjust the marking point in the centre of the paper2 and secure the photograph to the board so that its centre shall be directly under the tracing point1 which should always touch it4 ,if it does not do so at first1 place a little weight on the instrument over this point heavy enough to bring it in contact with the photograph4 ,now guide the instrument1 by taking hold of the tracing point while at the same time you watch the marking point4 ,in this manner go over the entire photograph1 putting in all the details necessary1 after which you can transfer this outline to the crayon paper by means of the tracing paper according to the former method given for transferring an outline4 ,these are all the best methods of producing an outline4 ,in each of them you fasten the charcoal lines with the ,no4 #b crayon points1 and then1 having brushed off the charcoal1 proceed to put in the background for your portrait4 ,this you do by any one of the methods given in the following pages4 ,,four ,,methods ,,of ,,making ,,the ,,background4 ,the background can be made first1 with the crayon sauce and the use of the large gray stump and rubber eraser2 second1 with the cotton and rubber1 by using the cotton in applying the crayon sauce to put in the dark places in the background1 and then finishing with the rubber2 third1 by the use of the line effect2 and fourth1 by the stipple effect1 produced by the use of pumice stone4 ,this last ,i consider far superior to any of the others1 as it changes the appearance of the surface of the paper entirely1 and produces an effect altogether different from that ordinarily shown in a background4 ,it is also free from the mussy1 dirty appearance which is produced by the use of the cotton and crayon sauce alone4 ,i have been repeatedly asked by both amateurs and professionals what kind of paper ,i use in free-hand crayons4 ,the inquiry arose from the fact that treating the paper by the fourth method changes the appearance of the surface of the paper and also its color4 ,i have never before1 however1 given to the public1 nor even to my pupils1 the secret of this process4 ,when the pupil has mastered it so as to once produce the satisfactory effect of which it is capable1 he will find that it has all the advantages ,i claim for it and is a secret well worth knowing1 in fact1 what would be termed one of the tricks of the profession1 and a very valuable one4 ,i must confess1 however1 that ,i discovered it by an accident4 ,i had been experimenting for years in making backgrounds in order to produce an effect that was entirely satisfactory to me1 and had failed to reach just what ,i wanted4 ,one day1 however1 ,i was at work on a portrait that ,i was very particular with1 but the background of which proved quite unsatisfactory to me4 ,in despair ,i threw on a handful of pumice stone1 intending to entirely remove the background by its aid1 when1 to my surprise and delight1 ,i found ,i was producing the very effect that ,i had been seeking for years1 namely1 one rendering the background of a different color from the face and giving it a clear1 transparent appearance1 so that the eye seemed to penetrate it1 quite different from the opaque1 almost dirty backgrounds1 resulting from the use of other methods4 ,i will treat each of these methods in separate chapters further on4 ,,free-,,hand ,,crayons ,,and ,,those ,,made ,,from ,,photographic ,,enlargements4 ,the principal difference between the appearance of free-hand crayons and those that are made over a photographic enlargement1 is that in the former the shadows are lighter and more transparent4 ,in the matter of feeling1 however1 the free-hand crayon is much more satisfactory to the artist for he knows it is all his own work1 and that he has not depended on the photographic enlargement to help him make the portrait4 ,after the outline has been drawn1 in making a free-hand crayon1 the portrait is still not yet in the same state of advancement as a silver1 platinum or bromide enlargement2 for the reason that the latter not only has the outline1 but also the faint impression in light and shade of the rest of the portrait4 ,i will1 therefore1 in the next chapter1 give instructions for filling in the free-hand crayon up to such a degree of light and shade as shall put it in the same condition as the enlargement4 ,from that point on the same directions 7to be subsequently given7 for finishing the portrait will apply equally to both the free-hand crayons and the enlargements1 except that the bromide is understood to require special treatment4 ,the frontispiece was made from a free-hand crayon which was executed on ,steinbach crayon paper with a magic lantern outline4 ,this shows the stipple effect in the face and drapery1 and a broken line effect in the background4 ,the student will notice the difference between this illustration and that facing page #ha1 which was made from a bromide crayon4 ,in the bromide crayon the shadows are dark and strong1 while in this they are lighter and more transparent4 ,,filling ,,in ,,the ,,free-,,hand ,,crayon4 ,having your crayon outline already made on the mounted strainer1 lay the latter down on the table face up1 and proceed to put in a pumice stone background with the crayon sauce according to instructions hereafter given on page #gj for producing that kind of background1 making sure that you go entirely over the outline4 ,then place the strainer on the easel1 and after putting in the cloud effect take the chamois block in your left hand1 and1 with a tortillon stump in your right1 put in the shadows in a strong1 clear and decided manner4 ,commencing on the hair1 put in the broader shadows first1 working the stump in the same direction that the lines of the hair go1 and endeavor to give the soft flow that the hair should have1 avoiding making lines or any attempt to make individual hairs4 ,the eyebrows should then be put in in the same way as the hair1 care being taken to preserve the form2 then the eyes1 beginning with the upper lids1 putting in the lines between the eye and the lid1 and also the second line forming the lid4 ,do not line in the lower lid between the eye and the lid1 but put in the under line of the lower lid4 ,next form the pupil1 placing it in the centre of the iris1 making it very dark2 then the iris1 noticing in particular that the upper lid throws a shadow on the top of the iris2 then the shading of the nose and nostrils and shadows under the nose4 ,the mouth is the next important feature1 and1 as there are no decided lines in it1 you must put in none1 but have the degrees of light and shade form the mouth4 ,begin with the corners1 and notice carefully that here lies nearly the whole expression of the lower part of the face2 next treat the central point of the lips and complete the mouth2 then make the shadows around the mouth and chin1 after which1 put in the ears1 and then model up the face1 making all the shadows broad and decided1 leaving the details for the finishing touches1 but being careful in the modeling to retain all of the values4 ,next put in the clothes with the large stump1 sweeping it gently across the lights in different directions1 allowing the lines to cross each other occasionally4 ,carefully preserve the form in this1 giving the proper shape to the lapels of the coat or folds in the dress1 and to the arms4 ,avoid detail and do not carry the clothes as far down as you want them to show in the finished picture4 ,lace work should not have too much detail1 but be made somewhat indistinct2 only show a few of the forms out sharp and defined1 giving the pattern4 ,,line ,,effect4 ,this can be produced in crayon portraits made over a photographic enlargement1 or in free-hand crayons after the filling in just described has been done4 ,the lines are drawn to cross one another so as to leave diamond shaped spaces4 ,one of the important things in this style of finishing is the line of direction1 by which is meant the lines or grains that represent the object to be drawn4 ,we say that wood is cross-grained1 meaning that the grains or fibers of the wood run crosswise4 ,if we were to represent a straight board in crayon drawing1 we would draw straight lines running lengthwise of the board1 unless it should have some cross-grained places in it1 as that is the way the grain of the board would be4 ,if we should take the same board and bend it in the form of a circle1 we would in order to represent the board in that position1 draw lines running in a circle to correspond with the grain and position of the board4 ,the idea to be impressed is1 that when we want to represent an object with crayon and that object is flat1 we draw straight lines to represent its surface2 and when the object is round or partly so1 we draw curved lines1 conforming them to the surface of the object4 ,light and shade in nature have each their different qualities4 ,light expresses form while shade obscures it2 consequently1 in the light places of an object we will see its grain or texture1 and that grain or texture will gradually become obscured as it enters the shadow until it is entirely lost in the deepest shadows4 ,this grain will not show in nature as decided where the strongest lights are as it will in the half shadows2 and1 therefore1 in the crayon representation the grain effect should show more decided in the half shadows4 ,if your crayon is not true in this respect1 it will appear coarse and fail to please as a work of art on account of its falsity to nature4 ,the line effect is produced throughout the whole picture1 in the background1 face and dress4 ,,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 stump1 as explained on page #ee4 ,illustration3 ,,lines ,,to ,,produce ,,the ,,stipple ,,effect4 ,from the ,annual ,encyclopedia4 ,copyrighted1 #ahia1 by ,d4 ,appleton ,co4 ,when putting in a background with the pumice stone as described in the fourth method on page #gj1 treat the whole surface of the paper with pumice stone in order to raise the grain of the paper1 but go over the face lightly4 ,then place the strainer on which the portrait is mounted on the easel1 and put in the shadows with the tortillon stump1 producing the lights with the eraser2 finish with the ,no4 #j crayon4 ,but instead of producing a diamond effect1 as you did with the lines1 you now want to have a stipple effect1 which is that of small black and white spots2 the paper producing the white spots1 and the crayon the black ones4 ,to produce this make the lines in the shadows and half-shadows1 but not in the light places1 in the manner shown in the illustration on the following page2 instead of crossing them to form diamonds1 using short lines and varying their direction and intersection with reference to the ultimate effect2 then rub them with the end of the finger4 ,in finishing1 gradually divide up all the small light parts with the pencil and the dark with the eraser3 if it is necessary at any time to rub the crayon1 use the end of the finger instead of the cotton4 ,be careful not to get too much crayon on the paper1 that is1 you must not force up or be compelled to make the shadows too dark by the use of the crayon2 they should be made as dark as necessary with the stump before finishing4 ,should you find in finishing that they are not dark enough1 use the stump to make them darker1 as the pencil is only intended to give the stipple effect1 and should be used in a very light and delicate way4 ,continue the process of finishing according to the directions hereafter given for bromide enlargements4 ,the foregoing illustration is the first or ground work for the stipple effect produced by the aid of the fingers4 ,to obtain this effect without rubbing with the fingers1 make small black dots1 instead of the lines shown above1 until the desired effect is produced4 ,the latter method results in a coarser stipple effect1 but it requires a much longer time and is more difficult than the former4 ,,backgrounds--,,general ,,principles4 ,always commence the portrait by putting in the background4 ,among the four different methods which ,i have given1 the student can make his own selection4 ,for myself1 ,i prefer the last two mentioned4 ,there can be no definite rule given for the lights and shadows in the backgrounds1 as every portrait will need a characteristic background adapted to the subject4 ,there should always be a nice disposition of light and shade1 the light coming against the dark side of the face and the dark against the light side1 and generally a cast shadow4 ,what this is may be learned by setting a cast 7or any other object7 near the wall1 letting the light strike it at an angle of #ij degrees1 and noticing the size and position of the shadow thrown on the wall4 ,the cast shadow in your background must not be too near the head1 as simplicity should be one of the principles of the background1 and this can only be attained by breadth of light and shade4 ,the background is of secondary importance1 and should not intrude itself on the portrait in its effect of lines or light and shade4 ,backgrounds for half or full length figures need especial study in their effect of lines1 and one who intends to succeed in making them properly should study linear composition in ,burnet's essay on ,composition1,a especially the following passages4 ,composition is the art of arranging figures or objects so as to adapt them to any particular subject4 ,in composition four requisites are necessary--that the story be well told1 that it possess a good general form1 that it be so arranged as to be capable of receiving a proper effect of light and shade1 and that it be susceptible of an agreeable disposition of color4 ,the form of a composition is best suggested by the subject or design1 as the fitness of the adaptation ought to appear to emanate from the circumstances themselves2 hence the variety of compositions4 ,to secure a good general form in composition1 it is necessary that it should be as simple as possible4 ,whether this is to be produced by a breadth of light and shade1 which is often the case with ,rembrandt1 even on a most complicated outline1 or by the simple arrangement of color1 as we often find in ,titian1 or by the construction of the group1 evident in many of ,raphael's works1 must depend upon the taste of the artist4 ,it is sufficient to direct the younger students to this particular1 their minds being generally carried away by notions of variety and contrasts4 ,in giving a few examples of composition1 ,i have confined myself to the four simple and principal forms1 not only from their being most palpable1 but also from their possessing a decided character1 which is at all times desirable4 ,to those who imagine that such rules tend to fetter genius1 ,i shall merely quote ,sir ,joshua ,reynolds1 whose works1 if properly understood1 render all other writings on the subject of painting superfluous3 ',it must of necessity be that even works of genius1 like every other effect1 as they must have their causes1 must likewise have their rules4 ,it cannot be by chance that excellencies are produced with any constancy or any certainty1 for this is not the nature of chance2 but the rules by which men of extraordinary points1 and such as are called men of genius1 work1 are either such as they discover by their own peculiar observations1 or are of such nice texture as not easily to admit being expressed in words2 especially as artists are not very frequently skillful in that mode of communicating ideas4 ,unsubstantial1 however1 as these rules may seem1 and difficult as it may be to convey them in writing1 they are still seen and felt in the mind of the artist1 and he works from them with as much certainty as if they were embodied1 as ,i may say1 upon paper4 ,it is true these refined principles cannot be always palpable1 like the more gross rules of art1 yet it does not follow but that the mind may be put in such a train that it shall perceive1 by a kind of scientific sense1 that propriety which words1 particularly words of unpractised writers such as we are1 can but very feebly suggest4' 7,sixth ,discourse74 ,,footnotes3 ,footnote ,a3 ,essays on ,art1 by ,john ,burnet1 ,new ,york1 ,e4 ,l4 ,wilson4 ,,first ,,method ,,of ,,making ,,the ,,background--,,stump ,,effect4 ,to produce the stump effect1 rub the chamois block in the box of crayon sauce1 and then with the large grey paper stump commence by putting in the darkest parts and the cast shadow4 ,use the broad end of the stump1 moving it over the surface of the paper with an even and uniform pressure1 so that you will not make any dark spots4 ,make broad lines and have them cross each other so as to form diamond shaped spaces1 using considerable care and a very light touch in the lighter places4 ,finish with the large rubber eraser1 cutting it so that it will make white lines about the same width as the black lines made with the stump4 ,have these light lines run into the dark ones in some places1 and use the rubber so as to produce a dashing effect4 ,,second ,,method ,,of ,,making ,,the ,,background4 ,take a handful of cotton batting1 rub it in the box of crayon sauce1 and then on a piece of paper before applying it to the crayon paper to make the background1 being careful to avoid rubbing harder in some places than others1 as dark spots are likely to be caused in that way4 ,commence by rubbing in close to the face and work out towards the edge of the paper4 ,let the darkest part be closest to the face1 shading out in the form of a circle about six or eight inches from the face1 according to the subject1 the upper line of the arc coming a little above the head4 ,then make the cast shadow and finish with the large rubber eraser1 putting the lights1 or cloud effect1 as it is called1 in the background4 ,when doing this1 place the strainer high enough on the easel to bring the centre of the picture on a level with your eyes1 then standing in front of it and about six feet off1 decide upon your plan of light and shade4 ,after you have put in the first of the lights1 step back to the former position1 and see if it gives the proper effect4 ,continue this method of working until the background is entirely completed4 ,,third ,,method ,,of ,,making ,,the ,,background--,,line ,,effect4 ,with the cotton and crayon sauce as in the preceding method1 put in the dark places and cast shadow1 but not as dark as you want them when finished2 then with the crayon point ,no4 #b put in three sets of lines thus3-- ,illustration3 ,,background4 ,,line ,,effect4 ,from the ,annual ,encyclopedia4 ,copyrighted1 #ahia1 by ,d4 ,appleton ,co4 ,do not carry out the lines as far as the background will extend when finished4 ,the lines should be one-quarter of an inch apart in life-size portraits1 and a little closer in smaller sizes4 ,as a rule the lines are a little further apart in the background than in the face4 ,these lines need not be horizontal1 crossed by oblique ones at obtuse angles1 but they can be curved lines1 if desired1 provided they cross each other so as to leave diamond shaped spaces4 ,after the lines are in rub a piece of clean cotton over them all1 using pressure enough to subdue them to the degree of indistinctness desired2 then finish with the large eraser and crayon point ,no4 #b1 putting in the cloud effect4 ,such lines as show too prominently you subdue with the nigrivorine eraser4 ,if there are any light places1 make them dark with the crayon4 ,the background should be very indistinct on the edges1 and be vignetted in the shape of an oblong1 having some very light clouds above and on either side of the head4 ,let there be a nice contrast between the face and the background1 having light come against dark and dark against light2 that is1 when one side of the face is dark and one side light1 have the background light against the dark side1 and dark against the light side2 when light and shade are about equal on both sides of the face1 have the background about the same shade on both sides1 without too decided a cast shadow4 ,if you have a subject that has gray hair1 have the background darker than it would be otherwise4 ,the background should never be darker at any place than the shadows in the face1 and close to the face it must be a shade between the light and half shadows4 ,never resort to the practice of leaving the background white1 as this will only give a hard1 stiff appearance4 ,clean off the outside edges of the background with a clean piece of cotton and the pumice stone4 ,,fourth ,,method ,,of ,,making ,,the ,,background--,,stipple ,,effect4 ,lay a piece of manilla paper on the table about twelve inches larger on each edge than your strainer1 placing the strainer on it face up2 rub a handful of cotton batting first in the crayon sauce and then on the manilla paper to remove any foreign substance4 ,then apply the cotton with a circular motion to the crayon paper to make the background desired4 ,next sprinkle the pulverized pumice stone over the entire background1 and go over this with the fingers in a circular movement1 using them flat from the second joint to the ends2 then lift the strainer up1 and1 resting it on the edge1 jar off all the pumice stone1 and when this is done1 lay it down again and rub it off with a clean piece of cotton4 ,now rub the fingers in the crayon sauce1 keeping them flat so that it will adhere evenly to them1 and go over the background lightly as when rubbing in the pumice stone and you will produce a nice stipple effect4 ,finally1 place the strainer on the easel1 and finish according to the directions given for finishing crayons made on bromide enlargements4 ,of course it will need considerable experience before you can succeed in doing this perfectly1 but patience and perseverance will ultimately accomplish the desired end4 ,there are two matters of importance to be borne in mind in making these backgrounds--first1 do not have any small1 hard pieces of crayon on the cotton when you rub it on the paper1 and second1 use the fingers in as flat a position as possible1 for if you do not have them flat down on the paper you are likely to make dark spots in the background4 ,,face--,,line ,,effect4 ,illustration3 ,,line ,,effect ,,for ,,face4 ,from the ,annual ,encyclopedia4 ,copyrighted1 #ahia1 by ,d4 ,appleton ,co4 ,commence on the hair with the crayon point ,no4 #b1 and put in all the shadows and half-shadows1 carefully preserving the lines of direction1 but avoid working over the lights more than necessary2 then with the crayon point ,no4 #a strengthen all the shadows about the eyebrows1 the eyes1 the mouth1 the chin and the ears4 ,next put the lines in the face4 ,the following illustration shows the lines before they are rubbed4 ,it will be well to remember that only two sets of lines are used in the face1 as shown in the illustration1 and the same number in the dress1 while there are three sets required in the background4 ,the lines in the face should be a little closer than those in the background1 while those in the dress are about the same as those in the background4 ,in the effect of the lines in the face lie the chief merit and beauty of this method of crayon work4 ,when properly drawn1 the lines represent and give the grain of the flesh in a very beautiful broken effect4 ,they are drawn so as to leave spaces shaped like diamonds1 but in the finishing should be so treated as to lose their regularity1 and to have the effect of broken diamonds4 ,if you will examine the back of the wrist joint when your hand is bent slightly backward1 you will see more clearly what is meant by the term broken diamonds in the slight ridges which show the grain of the flesh4 ,begin with the forehead1 using the crayon point ,no4 #a1 and put in one set of lines straight across1 but curving downwards as the forehead commences to round off towards the hair at the sides2 then one more set of lines in the direction that will produce the diamond spaces1 continuing these two sets of lines throughout the face4 ,these lines intersecting at the proper angles will indicate the grain of the flesh1 if the line of direction be carefully followed4 ,remembering that the face is not a flat surface1 make the lines darker in the shadows and lighter as they approach the lights4 ,the high lights on the forehead1 the nose1 the highest point of the chin1 and around the mouth1 should1 however1 have no lines over them4 ,having put in these lines take a small handful of cotton1 and rub the hair and face over both the high lights and shadows1 the motion following the line of direction2 that is1 being straight across the forehead1 curving towards the hair at the sides1 and circular on the cheeks4 ,care should be exercised not to rub too hard1 it being a common fault of the beginner to rub the paper too much1 and produce a dirty effect4 ,the lines should be merely rubbed until they are somewhat blurred and indistinct4 ,remember that the crayon portrait is made on the surface of the paper1 and not rubbed into it4 ,after it has thus been treated with the cotton1 go over the shadows with the crayon point ,no4 #a1 and rub again with the cotton4 ,the face of the crayon will now be about three shades darker in the lights than it should be when finished1 and not quite dark enough in the shadows4 ,finish it with the ,no4 #j crayon and nigrivorine eraser1 using the latter wherever a lighter effect is required2 also break up the regularity of the diamond spaces1 and whenever a line shows too prominently subdue it with the eraser4 ,if you would succeed in making good crayon portraits1 it will be necessary for you to cultivate a light touch with the crayon in finishing4 ,the eraser is one of the principal instruments employed in making crayon portraits1 and is used the same as if it were a crayon pencil1 that is1 on that principle1 the difference being that you make white lines with it instead of black ones4 ,keep the eraser to a sharp point in the following manner3 take a piece of emery paper about three inches square1 and place it in the left hand between the index and second fingers1 holding the fingers about half an inch apart1 and bending the paper to fit between them2 then rub the eraser in the crease thus formed1 holding it at an acute angle4 ,sometimes it is necessary to sharpen the eraser with a knife or a pair of scissors before rubbing it on the emery paper4 ,in working with the eraser on the crayon paper do not rub hard enough to remove all the crayon from the surface of the paper1 except in producing the high lights and the white of drapery4 ,notice in particular in finishing the hair that where it touches the forehead there are no lines1 as the light and shade should blend together so nicely as to leave no decided line between them4 ,,dress--,,line ,,effect4 ,illustration3 ,,line ,,effect ,,for ,,dress4 ,from the ,annual ,encyclopedia4 ,copyrighted1 #ahia1 by ,d4 ,appleton ,co4 ,the above illustration represents the effect of the lines in the dress4 ,in putting them in let every fold1 sleeve and lapel have lines of its own1 that is1 lines differing in direction so as to discriminate it from the other parts of the clothing4 ,these distinctive lines will lose themselves in the wrinkles1 in shadows1 and in the next fold1 where the lines will have a different direction4 ,the illustration is very crude1 as it shows the lines before they are rubbed with cotton2 after that process they have quite a different appearance4 ,in men's clothing the lines may be drawn a little farther apart than in the treatment of the finer texture of ladies' garments4 ,after you have put in the lines with the crayon point ,no4 #b1 go over them with a piece of cotton previously rubbed in the crayon sauce1 and then complete this part of the work by the use of a dull eraser for the smaller lights1 and the chamois for the broad lights4 ,the crayon is now in good condition for finishing1 which you will proceed to do by the use of ,no4 #j ,conte crayon and the nigrivorine eraser1 softening the lights with the former and the shadows with the latter1 until you have the whole portrait subdued1 and no decided lines of light and shade4 ,of course throughout these processes you must pay close attention to all the characteristic points in the likeness1 so that the crayon will be a true and life-like reproduction4 ,do not sit too close to the crayon in finishing2 if you do1 you will be disappointed when you come to look at it from a slight distance1 and will not find at all that enchantment which distance is said to lend to the view1 as the crayon will disclose a spotty effect1 and too great a contrast between the lights and shadows4 ,,bromide ,,crayons4 ,in the bromide enlargement1 while the paper has to undergo all the different manipulations of development1 fixing and washing1 that the platinum and silver enlargements do1 yet the gelatin is not removed1 and1 when dry1 remains as a strong sizing to the surface of the paper--in fact1 so strong1 that in some of the different kinds of bromide paper the surface is very nearly as hard as glass1 and1 therefore1 the crayon cannot be used upon it with good results until it has received a special treatment1 as the crayon would only make a black scratchy mark4 ,it has been said that the bromide paper and enlargement were entirely different from the platinum or silver enlargement and the crayon paper4 ,while there is not as much difference between the bromide and other enlargements as there is between the former and the crayon paper1 there should be this difference3 the silver or platinum enlargement should only be printed strong enough to give the form and the larger details in the negative1 while the bromide enlargement must be as nearly a perfect photograph as can be produced from the negative4 ,illustration3 ,,from ,,crayon ,,executed ,,over ,a ,,bromide ,,enlargement ,,made ,,from ,,the ,,original ,,negative--,,stipple ,,effect ,,throughout4 ,,by ,j4 ,a4 ,,barhydt4 ,from the fact that1 on account of the difference in the surface of the paper1 there cannot be as much crayon put on the bromide enlargement as on the other kinds of paper1 and that1 therefore1 it cannot be strengthened to the same degree in the shadows without spoiling the nice transparent effect that a bromide should have there1 it follows that the best bromide crayons are those on which the least crayon is used to produce the desired effect4 ,the bromide paper1 on account of the gelatin surface1 will not take the crayon from the stump as readily as the other kinds of paper2 but after the surface has been treated with the pumice stone this objection is removed1 and the paper can be worked on with the stump readily4 ,i can say from my own experience1 that for producing a crayon over a photographic enlargement with the stipple effect1 it has no equal in the beauty of finish and rapidity of execution4 ,the illustration facing this page was made from a crayon executed over a bromide enlargement from the original negative4 ,better results can always be reached in a bromide enlargement when it is thus made from the original negative4 ,the student will notice in particular the stipple effect in the reproduction4 ,,finishing ,,bromide ,,enlargements4 ,examine the enlargement mounted on the strainer1 looking at it from the side1 to learn if there is any starch on the surface of the paper before commencing work on it4 ,if there is any1 carefully wash it off with a sponge and some clean water1 and then set the enlargement aside until it has thoroughly dried4 ,then lay it down on the table with a piece of manilla paper under the strainer about #ab inches longer on each edge than the latter2 take a handful of cotton1 first rubbing it thoroughly in the crayon sauce1 then on the manilla paper1 and finally going over the surface of the enlargement with it in a circular motion4 ,then sprinkle pumice stone over the portrait1 and using the ends of the fingers flat1 rub it over the entire surface of the paper4 ,this treatment cuts through the gelatin surface and prepares it for the stipple effect4 ,now stand the strainer on its edge and jar the pumice stone off1 after which lay it down on the table1 and with a piece of clean cotton lightly brush off the surface2 then1 having rubbed the finger ends in the crayon sauce1 go over the entire surface of the enlargement1 holding them flat1 and you will produce a fine stipple effect4 ,if the shadows need to be darker1 use a little more crayon on the fingers2 also put the cast shadow in the background1 applying the crayon with the fingers4 ,before proceeding further it will be well to note that the crayon is entirely on the gelatin surface1 and that the photographic image is on this surface also1 and not on the paper itself2 therefore1 under the image and the gelatin you have the pure white paper4 ,i call attention to this in order that you may work with a better comprehension of the materials you are using4 ,you now have four surfaces4 ,first1 the muslin cloth of the strainer2 second1 the starch2 third1 the white paper2 fourth1 the gelatin4 ,knowing that the gelatin has a hard surface1 you are prepared to learn that the crayon will come off from the bromide much more easily than from the other kinds of paper4 ,these had but three surfaces1 while the bromide has a fourth--a very hard one--between the crayon and the paper1 and on account of its hardness it will need different treatment in its manipulation4 ,therefore you use the fingers in applying the crayon sauce1 and1 when it is necessary to make a place light1 you do so with the cotton1 chamois or eraser4 ,should you find it necessary to make a place white where it is dark1 you can remove the photograph entirely1 as this is on the gelatin1 scraping it off down to the white paper with a sharp knife4 ,resuming the process of finishing1 place the enlargement on the easel and put in the cloud effect with the large eraser1 then lay it on the table again1 and clean it off about four inches from the edge all around with pumice stone and a fresh piece of cotton where you have rubbed with the eraser1 and blend the background into this four inch space4 ,return the enlargement to the easel again1 and with the broad eraser clean up the lights throughout1 and with the cotton and pumice stone blend them into the shadows2 then with the peerless stump1 crayon sauce and fingers strengthen the larger shadows1 using the nigrivorine eraser when necessary to clean up the lights1 and the tortillon stump for the work in the smaller shadows1 if it is required to make them darker4 ,now with the ,no4 #j crayon finish the face by completing the stipple effect in the patches of light and shade4 ,you will have a good guide in the background for finishing and giving the stipple effect1 as there you will have this stipple effect quite perfect1 especially in the light places4 ,this finishing with the ,no4 #j crayon is the nicest part of the work1 and when doing it you must keep in mind that you are putting in the stipple effect1 and that alone2 that is1 the portrait at this stage is supposed to be very nearly right in light and shade and expression1 and it should not be necessary to strengthen it in the shadows by using the ,no4 #j crayon4 ,you are to cut up or divide the portrait into small black and white spots1 but do not take out white spots with the ,no4 #j crayon that are larger than the white spots desired in the stipple effect2 these light places must be cut into smaller light spots4 ,if you should take out these white spots 7and this is an error you must be very careful to avoid71 you would produce an effect of large dark and white spots that would be entirely wrong1 the real process being to divide large white and dark spots into smaller ones of the same color4 ,this stipple effect should be worked all over the face with the exception of the highest lights1 and even these will very often need to be worked over except at the single points of the very highest lights4 ,in this work you now have an opportunity to demonstrate the theory of contrast4 ,sometimes the enlargement is too dark in the shadows1 and although you require to have them lighter you have already removed all the crayon from the surface1 and it still remains too dark4 ,the crayon pencil is many shades darker and blacker than the shadows1 yet you can by its use make them lighter by putting in the stipple effect1 as the dark touches of the pencil in their contrast with the shadow color under them cause them to appear lighter4 ,this is a very essential principle to remember in crayon portrait work3 that the effect of dark against light is to make the light appear lighter1 and the dark darker4 ,after the face and hair are completed as above1 then finish the clothes with the peerless stump1 eraser and fingers4 ,if there are any very dark strong shadows--for instance1 under the collar or around the neck--put them in with the velours crayon and subdue them with the fingers4 ,when at work on the clothes at the bottom of the portrait do not finish straight across1 but in a circular way4 ,next taking up the background you will discover that there are some large patches of light and shade that must be changed and made the required color to correspond with the adjoining surface2 lean back as far as possible in your chair1 and join these places together with the pencil and eraser2 then in the same position finish the face by removing any light or dark places1 strengthening the eyes1 nose1 mouth1 and any point of the likeness requiring a final touch4 ,remove with the point of your knife any small black spots such as sometimes show in the photograph1 and then with a fresh piece of cotton and pumice stone clean off the edges of the crayon all around4 ,before regarding the picture as quite complete1 examine it by holding it at right angles to the light1 to see if there are not some marks of the crayon pencil that show too prominently4 ,these can be subdued with the ends of the fingers4 ,sometimes in finishing with the ,no4 #j crayon the paper will seem to be gritty so that you can hardly work on it4 ,the difficulty is that some of the pumice stone has adhered to the surface of the paper4 ,this can be disposed of by rubbing it with the fingers4 ,it should be remembered that the pumice stone must be entirely removed from the whole surface of the paper1 as otherwise it will settle in the crayon1 and give a dirty gray effect4 ,when1 as sometimes happens in commencing the portrait1 dark or white spots or streaks show themselves1 do not pay any attention to them until you have entirely finished the crayon1 then if they are dark1 make them the proper shade with the eraser1 and if light1 with the crayon4 ,,monochromes4,b ,these are portraits in one color on porcelain1 glass or any hard material that has first been coated with gelatin and then photographed on4 ,first treat the whole surface with pumice stone as directed for the bromide paper1 afterwards go over it with the crayon and cotton4 ,then put in the cloud effect in the background1 and clean off the lights in the face1 hair1 and clothes with the eraser2 next put in the half-shadows with the peerless stump2 then with a solution of ,india ink darken the stronger shadows throughout the portrait--in the eyes1 nose1 mouth and eyebrows1 and finally in the hair4 ,finish the face with the ,no4 #j crayon and the #d ,h4 ,faber's lead pencil according to directions given for finishing bromide enlargements4 ,the ,faber pencil is used almost exclusively throughout the face4 ,very nice effects of strong light can be made on porcelain by scraping through the gelatin surface with the knife4 ,this process is specially adapted to making pictures of smaller size1 say #ajab1 or #aaad inches1 as it produces a very soft and delicate effect4 ,,footnotes3 ,footnote ,b3 ,for photographic process1 see the ,american ,annual of ,photography and ,photographic ,times ,almanac1 #ahhh4 ,,values4 ,the matter of values enters into the essential quality of every work of art1 and especially of a portrait4 ,it is the truth of their rendering that will give a faithful likeness4 ,by the term values is meant the relations of light and shade to each other4 ,this subject has been so admirably treated by ,john ,burnet in his essay entitled ,practical ,hints on ,light and ,shade1,c that ,i give his observations on this point4 ,before proceeding to investigate light and shade in their various intricate relations1 it may be proper to notice a few of the more palpable and self-evident combinations2 and for the better comprehending of which ,i shall divide them into five parts1 viz43 ,light1 half-light1 middle tint1 half-dark and dark4 ,when a picture is chiefly composed of light and half-light1 the darks will have more force and point1 but without the help of strong color to give it solidity it will be apt to look feeble1 and when a picture is composed mainly of dark and half-dark the lights will be more brilliant2 but they will be apt to look spotty for want of half-light to spread and connect them1 and the piece be in danger of becoming black and heavy4 ,and when a picture is composed chiefly of middle tint1 the dark and light portions have a more equal chance of coming into notice1 but the general effect is in danger of becoming common and insipid4 ,light and shade are capable of producing many results1 but the three principal are relief1 harmony and breadth4 ,by the first the artist is enabled to give his work the distinctness and solidity of nature2 the second is the result of a union and cement of one part with another2 and the third1 a general breadth1 is the necessary attendant on extent and magnitude4 ,a judicious management of these three properties is to be found in the best pictures of the ,italian1 ,venetian and ,flemish ,schools1 and ought to employ the most attentive examination of the student1 for by giving too much relief he will produce a dry hard effect1 by too much softness and blending of the parts1 wooliness and insipidity1 and in a desire to produce breadth of effect he may produce flatness4 ,the student should make a careful study of the values1 as upon these will depend the entire effect of the portrait and its fidelity as a likeness2 and the absence of these qualities of rendering light and shade are one of the marked features of the work of amateurs1 as they are apt to make their shadows too dark and their lights too light4 ,you should compare the portrait with the photograph you are working from1 and preserve the same contrasts between the lights and shadows in order to produce satisfactory results4 ,the best way of examining your work is by the use of a mirror4 ,to the student the mirror is his best critic4 ,it is before this silent observer that he submits his work with the certainty of receiving an honest criticism4 ,at every step of your progress look at your work in a good mirror1 as here it is changed about1 the left side being the right side1 and no error will escape detection4 ,sometimes you will see that what appeared true was in reality false1 what seemed graceful in contour was distorted2 here an eye which you thought was looking at you quite straight now mocks you from the glass in manifest obliquity2 the mouth1 which you thought had a pleasant expression1 now looks as disdainful as can be4 ,and so all through your work you will be startled2 you will doubt the mirror4 ,doubt it not2 your work is false4 ,if you will be convinced show it to some competent artist1 and he will confirm the judgment of the impartial mirror4 ,experience will soon teach you to put such reliance on its never capricious council that you will follow its suggestions implicitly1 and1 when your work is altered1 the result will satisfy you invariably1 that1 as the proverb says of two heads1 so two images are better than one4 ,when you have come to this conclusion there is not a beauty of eighteen who will consult her glass 7though it is true for a somewhat lighter purpose17 more eagerly1 more devoutly1 more frequently1 or finally1 we hope1 with more triumphant satisfaction than will you4 ,,footnotes3 ,footnote ,c3 ,essays on ,art by ,john ,burnet1 ,new ,york1 ,edward ,l4 ,wilson4 ,,studio4 ,the amateur is not to consider the selection of his studio or work-room of minor importance2 the perspective1 coloring1 and the effect of the portrait will all depend1 in a great measure1 upon the situation and dimensions of the studio4 ,it may be said in a general way that the larger the apartment the better4 ,to secure the effect which it is essential to produce1 there should be space enough left behind the artist to permit him to step back from six to ten or twelve feet to accurately view and see the effect of the portrait4 ,i cannot urge too strongly upon the amateur the usefulness of frequently viewing his work from a distance4 ,i would gladly save him the disappointment and chagrin which ,i have myself experienced1 when having neglected this precaution1 ,i have quite finished a portrait only to find it thoroughly unsatisfactory when looked at from a greater distance than that at which ,i had worked4 ,you should choose a room with a north light if possible2 if that is not available then one with a south light1 and the room should be as near the top of the house as possible4 ,let the light be arranged so as to strike the easel at an angle of #ij degrees1 and if it is a side light darken the lower half of the window4 ,do not have the side walls white1 they should be a neutral shade2 reddish is the best4 ,for work with water colors or ,india ink you need a stand1 and be sure and set it so that the light will be at your left when you work4 ,keep the studio as free from dust as possible1 and when you have finished working for the day wash your brushes and place the corks in the water color bottles1 so as to exclude the dust from them4 ,for crayon work also set the easel so that the light is at the left hand4 ,a word in regard to selecting materials4 ,i have already spoken in regard to the selection of photographs for coloring4 ,as to brushes--camel's hair will cost only about a third as much as sable1 and will answer every purpose for beginners2 the fine sable should be procured after the pupil has advanced sufficiently4 ,in choosing a brush for water colors1 dip it in a cup of water and draw it over the edge of the cup2 if it has a little spring to it1 and comes to a point readily without any of the hair straggling1 it is all right2 if not1 reject it4 ,winsor and ,newton's ,chinese ,white is the best white paint4 ,for mixing the colors you can get a slant with eight divisions1 or a nest of saucers4 ,in selecting glass for mounting pictures choose that which is free from blisters4 ,,framing4 ,the following directions in regard to framing will1 ,i hope1 be found advantageous4 ,when framing with a passepartout mat1 always use ,for a #afbj portrait an #ahbb frame1 #ahbb #bjbd #bjbd #bbbf #bdbi #becj ,i make a life-size portrait #becj on a #bdbi strainer4 ,the reason for using a larger frame than strainer is this3 that it invariably happens that the head of the portrait will not come in exactly the proper place in the opening of the passepartout1 and by having the frame two inches larger each way you will be able to bring the head wherever desired in this opening4 ,when placing the picture in the frame1 lay the latter face down on a table and put in the glass1 which should have been perfectly cleaned2 lay in the passepartout and fasten it with small brads4 ,then lay the crayon down on the table face up and turn the frame over on it1 and after you have it in the proper place1 draw the picture and frame partially over the edge of the table1 and from underneath mark the back of the passepartout where the edges of the picture come2 then turn the frame and picture over so that it shall be face down4 ,now cut eight strips of old tin-type metal one-quarter of an inch wide and three inches long1 making holes at each end of them for the tacks1 and with these strips fasten the picture in its place by tacking one end of each to the strainer and the other end to the frame4 ,also cut a piece of heavy manilla paper the size of the frame1 lay it on a board1 dampen it with a sponge1 apply starch paste around each side and the ends for a space of six inches1 and lay it over the back of the picture and frame1 pressing it down on the latter2 then set it away to dry4 ,this will make a neat smooth back which will exclude moth and dust from the portrait4 ,,passepartout ,,mounting4 ,the following method will be found useful1 especially if you want to exhibit a crayon without the expense of framing it4 ,lay on the mounting board a piece of heavy manilla paper somewhat larger than the picture1 then put the crayon on this face up1 next the passepartout1 and last the clean glass4 ,mark the size of this on the paper1 and then1 having removed the glass1 crayon and passepartout1 cut the paper enough larger than the marks to allow it to come up one inch all around over the edges of the glass2 next dampen the paper1 and apply the starch paste to its edges about six inches all around1 then lay the crayon1 passepartout and glass back where they were on the paper1 and bring the latter up1 lapping it over the face of the glass2 cut the corners out so as to bring them over properly2 rub the edges down thoroughly on the glass1 and with a ruler and knife trim off the paper1 allowing one-quarter of an inch margin2 then set away to dry4 ,this will put the crayon in good condition to be exhibited1 and will thoroughly protect it4 ,transparent ,liquid ,water ,colors for ,coloring ,photographs4 ,illustration ,,transparent ,,liquid ,,water ,,colors ,,for ,,coloring ,,photographs ,materials ,required in ,their ,use4 ,a good photograph1 an engraving or photogravure mounted on card-board ,camel's hair brushes1 ,nos4 #c and #e1 ,sheet of blotting-paper1 ,small sponge1 ,clean white cloth1 ,cake of ,chinese white1 ,winsor and ,newton's water color1 ,a divided slant or nest of small dishes for holding the color when mixed1 ,box transparent liquid water colors1 ,stick of ,india ink1 ,box pulverized pumice stone1 ,two tumblers for water4 ,it has passed into a proverb that he is a bad workman who complains of his tools4 ,it is certain that good ones simplify work and give better results4 ,one of the most important things for successful art-work is to have at hand the proper materials and good instruments4 ,in their selection do not follow a penny wise and pound foolish policy1 but get the best you can2 and these you will often find not too good4 ,,theory ,,of ,,color4 ,the principles connected with coloring should be understood if one desires to produce the most pleasing and harmonious effects in painting4 ,the three colors1 red1 yellow1 and blue1 with the white of the paper1 are equal in theory to all the requirements of art in its true relation to color4 ,red1 yellow and blue are called primary colors2 that is1 we cannot produce these colors from the combination of any others4 ,orange1 purple and green are called secondary colors1 and are produced by the combination of the primary colors4 ,by the mixture of red and yellow we obtain orange1 from red and blue1 purple1 from yellow and blue1 green4 ,the tertiary colors--broken green1 gray and brown--are produced by the mixture of the secondary colors4 ,from orange and purple we obtain brown1 from orange and green1 broken green1 and from purple and green1 gray4 ,the three primary colors must always be present in a picture to produce harmony4 ,colors are divided into what are called warm and cold colors1 the yellow and red being termed warm1 and the blue cold4 ,yellow and red produce light and warmth1 and it is impossible to produce coolness without the use of blue4 ,in painting we use the three terms1 light1 shade and color1 because they best express the qualities of color4 ,light is expressed by yellow1 shade by blue1 and color by red4 ,while red is particularly designated as color1 we must not forget the claims of yellow and blue1 as they1 together with red1 complete the primary scale of colors4 ,it is by placing these different colors in juxtaposition that we produce the proper qualities existing in each of the other colors4 ,it is impossible to produce the effect of warmth by red and yellow unless we use the blue in connection with them4 ,it is this filling up1 or completing the primary scale of colors1 that gives the term complementary1 so often employed in speaking of colors4 ,thus red is said to be complementary to green1 as green contains the other two colors of the primary scale--blue and yellow4 ,blue is complementary to orange1 as orange contains red and yellow4 ,yellow is complementary to purple1 as purple contains blue and red4 ,the principle of using the complementary color is of the utmost importance in painting1 or the use of color by any method1 and it is on this principle that the harmony of color is based4 ,when a painting is produced that has the colors red1 yellow and blue properly balanced1 a pleasing and harmonious effect is attained2 but if these colors are not used in their proper relations1 there is a discord1 and the work is not satisfactory4 ,these rules must be borne in mind by every student in coloring1 whether he uses oil or water colors4 ,one of the most common errors of amateurs is to overlook the red in landscape4 ,thus trees are too green1 and the grass is insufferably green3 the complementary color1 red1 has been left out4 ,by the following experiment you may prove that when you see one color the eye is in a perfect condition to see its complementary color4 ,on a piece of white paper1 three inches wide and five inches long1 draw with a lead pencil an oblong1 half an inch from the top1 one inch wide1 and two and one-half inches long from right to left1 and a similar oblong one-half an inch below the one already drawn4 ,then draw a six pointed star 7or any other not too large figure you desire7 in the centre of the upper oblong1 and paint it with vermilion water color4 ,now look intently at the painted star for thirty seconds1 and then look at the plain oblong below1 and you will observe that the latter will gradually assume a very beautiful shade of green1 the exact complementary color of the vermilion1 with the figure in white upon it--unless you should happen to be color blind4 ,if that is the case1 the experiment will demonstrate that fact4 ,,colors4 ,transparent water colors are put up in boxes containing nine colors1 and as you reduce them in the proportion of one part of color to eight of water1 a single box will last a long time4 ,they can be bought of almost any dealer in artist's materials1 and are designated as ,florentine1 ,egyptian1 ,grecian1 and by other names4 ,care should be used in procuring those which are pure and fresh4 ,the colors are yellow1 blue1 rose1 violet1 magenta1 flesh1 brown1 gold and black4 ,the labels on the bottles give directions for mixing4 ,,yellow4 ,yellow is one of the primary colors and one of the most useful1 as it enters into the coloring of almost every picture4 ,transparent yellow is very brilliant1 and can be used with any other color4 ,yellow and red make orange1 yellow and blue make bright green1 yellow and black a dull green4 ,in landscapes1 yellow is used in the middle distance with blue and rose and magenta4 ,in the foreground it is used with blue and black for green1 and is especially adapted for brilliant touches of foliage1 grasses1 and light places in the ground4 ,in portraits a very little can be used in the reflected lights on the faces1 and1 when mixed with brown1 for light shades of hair and eyebrows2 for light dresses1 used weak1 it makes a very nice cream color4 ,it can also be used very weak for laces1 the strong lights being afterwards touched up with ,chinese white1 but not when the picture is to be mounted on glass4 ,this color will ordinarily work nicely and give good results wherever its use seems appropriate1 but care must always be exercised not to use it too strong4 ,,blue4 ,this is another of the primary colors and a very essential one1 it being the nearest allied to shade1 and although not shade itself1 no shadows can be produced without it4 ,we will find it1 therefore1 mingling with all the shades of nature between the lights and shadows4 ,it would be in vain for us to introduce all our warm colors1 if the cool tints that are produced by blue are wanting2 for1 without that1 the work will appear heavy1 as it is the contrast between blue and the warm colors that produces a balance of color4 ,blue mixed with yellow makes a very brilliant green1 with gold a duller green1 with magenta a purple4 ,in landscapes it is used in skies and the middle distances1 but not in the foreground1 unless mixed with yellow4 ,blue can be mixed with rose or magenta for sunset skies4 ,when the horizon is represented a streak of blue or rose1 or of blue and magenta1 will give a very pleasing effect4 ,in portraits if you have a light background1 a thin wash of blue can be used over it4 ,the same can also be used for blue eyes and for dresses when they are light in the picture1 also in all the half-shadows of the dresses or draperies without regard to what their other color may be4 ,,rose4 ,this is the nearest approach to red that we have in these colors1 and as it fills out the scale it is an essential one4 ,it is1 in fact1 a very delicate shade of rose4 ,for landscape it is used only in the skies1 and then only a little near the horizon for sunset effects4 ,for portraits it is used in the drapery for making a very light shade of pink1 and it can be used generally when you want to make a very delicate effect4 ,the photographic print on which it is used should not be too dark4 ,,violet4 ,this is a very strong and brilliant color1 and therefore needs more than usual care in handling4 ,in landscapes it is only used in certain skies near the horizon1 and but very seldom even then4 ,it is more especially designed for portraits1 and there particularly in drapery to make very decided effects of strong color2 but it can only be used when the dress or draperies are dark in the photograph4 ,,magenta4 ,this also is a powerful color and must be used carefully4 ,it is not adapted to landscapes1 but in portraits is used for dresses and accessories4 ,if the photograph requires a dark dress this color will make it a beautiful shade4 ,,flesh4 ,this color can be used a very little in the skies of landscapes when there is a sunset effect to be represented4 ,in portraits it is used to color the faces and hands4 ,after it is dry1 retouch the cheeks and lips with the same color4 ,,brown4 ,this color is used in all the shadows4 ,in landscapes1 in some instances1 it serves for use in the middle distance and foreground2 the light places should be retouched with yellow or gold4 ,it is also used for tree trunks1 fences1 and the like4 ,in portraits it serves to color the hair and eyes1 and appears in the dark shadows of the drapery and furniture4 ,if the background is dark1 a nice effect is produced by tinting it a little with this color4 ,,black4 ,in transparent color this has more the effect of a dark gray than a brilliant black1 such as is produced with body colors4 ,when you want a very dark black1 it is better to use a little ,india ink with it4 ,it is used in the skies of landscapes when you wish a gray effect1 or to subdue a too strong blue color or red1 and in foregrounds for rocks4 ,in connection with yellow it will make a sombre green for trees1 mountains1 etc4 ,in portraits it is used for the hair and eyes1 in the shadows around the mouth1 and in drapery in connection with the other colors4 ,,gold4 ,this is a combination of yellow and red1 and in general can be used wherever either of these colors would answer4 ,in landscapes a little can be used in the skies1 the middle distances1 and lights on the ground in the foreground4 ,in portraits it is used to color the drapery and jewelry4 ,,instructions ,,for ,,using ,,liquid ,,water ,,colors4 ,fill the two tumblers with water1 and have all the other materials ready and convenient to work with4 ,if you have selected a burnished and mounted photograph wet its surface with saliva2 unburnished photographs1 photogravures and engravings do not require this treatment1 but in coloring them it will be necessary to mix a weak solution of gum arabic with the colors to prevent their penetrating the paper4 ,if printed on too thin a paper the photogravure or engraving should be mounted4 ,if it is found that the colors crawl or spread on the photograph1 mix a little acetic acid with the colors you are using1 and should this fail to remove the difficulty1 rub a pinch of pumice stone over the photograph with the fingers4 ,if the photograph is a portrait commence with the background1 washing it all over with a brushful of diluted color1 being careful not to get any on the face4 ,if the background is light1 use a weak solution of blue1 if dark1 a brown solution4 ,the majority of backgrounds only need a very little tinting--just sufficient to change the color4 ,for the face use flesh color1 diluting it to the proper shade1 washing it entirely over the face1 and with a stronger solution of the same color tint the cheeks and lips1 giving them a little brighter effect than the flesh color4 ,touch up the shadows in the face with the brown1 and if there are any reflected lights use a very weak solution of the yellow color for them2 then with some very weak black make the shadows around the mouth a little darker2 next with a solution of blue1 also very weak1 strengthen the shadows in the forehead and around the temples2 then color the eyes1 using a small brush4 ,if they are blue1 use a weak solution of blue1 if gray1 use a little black1 and if brown1 then that color4 ,next color the hair2 if brown1 use brown mixed with a little black to take away the reddish color2 if auburn1 use brown and yellow1 with a little gray between the lights and shadows4 ,in working on the hair1 move your brush in the direction of the lines of the hair2 if wavy1 then cause your brush to follow its lines4 ,after you have thus gone over it1 darken the shadows with a stronger solution of the same color4 ,after the hair1 paint the eyebrows and beard1 if there is any1 with the same color4 ,,drapery4 ,you must remember in using these liquid colors that they are transparent1 and1 therefore1 whenever the print is light you cannot make it dark1 unless you strengthen the shadows by applying opaque colors4 ,for dresses1 if they are light1 use the delicate colors to suit your fancy1 either the rose1 blue1 yellow1 or gold2 when they are dark1 use the magenta or violet1 being careful to spread the colors evenly4 ,after you have once colored the dresses1 then with a stronger solution of the same color darken the shadows2 if you then touch up the half-shadows with blue the effect will be still finer4 ,for neckties or ribbons use the complementary color to that of the dress4 ,for laces use a weak solution of yellow1 and after it is dry touch up the strong lights with ,chinese white4 ,if there is a curtain in the picture use the complementary color to the dress4 ,for chairs use brown4 ,if sky1 trees and grass are to be painted1 color them according to the directions given for landscapes under the different colors2 only be sure to modify them1 and keep them low in tone and color4 ,in laying on flat washes of color1 the brush must be held nearly upright and should be passed boldly over the surface2 the color should then gradually be brought down and spread equally over the whole surface as rapidly as possible1 in order to avoid letting any part dry before the whole has been covered2 then whatever surplus there may be should be carefully sponged off4 ,when you apply the wash of color to the picture the latter should not be held flat1 but at a slight angle1 so that the color will settle down towards the bottom of the picture4 ,these colors are more suitable for figures and landscapes combined than they are for landscapes alone1 yet very pretty effects in landscapes can be produced with them4 ,if any white spots should be found in the photograph1 as very often happens1 after the picture is quite complete1 touch them out with ,india ink1 using a small brush4 ,,landscape4 ,if the sky is to be blue1 wash it all over with a weak solution of blue2 if there are white clouds1 you can touch up the highest lights with ,chinese white2 if there is a sunset or rosy effect1 use a weak solution of rose or a little magenta4 ,but it is best not to try to make too much of the sky1 as the gray that is generally in it will give a very pretty effect and leave more contrast between the figures and the sky4 ,for the middle distance mix blue1 rose1 and a little yellow or gold if you want it greenish1 or you can use a very little brown4 ,the nearer the trees come in the foreground the stronger in color they should be2 that is1 they should tend more to the green and brown and less to the bluish color4 ,if they are to be bright green use blue and yellow1 and retouch the light places with yellow4 ,you can make the green duller by mixing a little black with the yellow1 or you can make a richer green by using blue1 gold and brown1 and then touching up the lights with gold1 and the shadows with brown4 ,for the grass use blue and yellow1 and retouch the lights with yellow2 for the ground use brown1 and retouch the lights with gold2 for tree trunks1 fences1 and the like1 use brown2 for rocks1 use black and a little brown4 ,,the ,,principle4 ,the study of painting as an art is based on three considerations1 form1 light and shade1 and color4 ,i will now treat of color--the form1 and light and shade being furnished for us in the photograph4 ,photography as a means of art education in its influence on the public is salutary4 ,in spite of all its falsity it is the best teacher of the first elements of criticism and knowledge of the facts of form and light and shade4 ,photography does not produce color1 so that we will add the one link to the chain that is wanting4 ,as we are dealing with pictures finished in light and shade1 it is well that we should have rules to aid in choosing good ones to work on4 ,in selecting a photograph to color we want as perfect a print as it is possible to procure4 ,a light one is preferable4 ,notice in particular if it is well defined1 that the shadows and middle shades are clear1 the lights pure1 and that it is free from defects and spots4 ,many think that they can take a poor photograph1 and1 by coloring it1 cover up the defects1 but they are wrong in this1 for the transparent colors will not conceal defects4 ,the best rule is that the better the photograph the better will be the picture when finished4 ,the ,soule ,photograph ,company1 ,no4 #cch ,washington ,street1 ,boston1 ,mass41 furnish photographic reproductions1 mounted and unmounted1 of all the best paintings in the world1 in both public and private art galleries1 and their photographs are the best to color4 ,therefore1 to begin with1 have a perfect picture to color4 ,scholars in commencing to use the brush will not be able to produce bold effects of color1 and will only acquire that power by use and practice4 ,by bold effects ,i do not mean that one part is to be more prominently rendered than any other portion of the work1 but merely the brilliancy of coloring which distinguishes professional from amateur work4 ,in any kind of painting it must be borne in mind1 that there are no decided lines forming the edges of any object4 ,the point insisted on is that the boundaries of objects must be of that color that will harmonize and subdue the picture1 producing a soft1 delicate effect4 ,i would advise all who begin to paint to commence with water colors1 as they are the easiest to manipulate1 the liquid water colors being easier than the body colors1 and their use the simplest of all kinds of painting4 ,the photograph being a fac-simile of a subject as it appears to the eye in form and light and shade1 furnishes a picture perfect except in color1 while the liquids supply the color in the form best adapted to teaching the first steps in its use4 ,it is hoped1 though1 that after the student has thoroughly mastered this course of study1 he will attempt something higher and more difficult in the study of art4 ,french ,crystals4 ,illustration ,,french ,,crystals4 ,these are photographs colored with liquid water colors and mounted on glass4 ,for several years a process has been taught by which a photograph is rendered transparent by the use of paraffine oil1 etc41 then mounted on glass1 and colored from the back with oil paints4 ,while by this method a picture pleasing at the time could be produced1 yet unless the process was perfectly executed the oils would decompose and the picture become yellow and spotted4 ,the use of water colors entirely overcomes these objections1 as it is so simple that any one can employ them perfectly1 and as there are no oils used in their production they cannot change or turn yellow4 ,,materials4 ,convex glasses on which to mount photographs1 ,bottle of ,florentine1 ,egyptian1 ,grecian or other compound for mounting on glass1 ,best ,french picture glass1 ,some gummed paper1 ,a dish in which to soak photographs1 ,some dark1 thin1 fancy paper1 ,sheet of blotting paper4 ,,the ,,method4 ,having secured a good photograph1 rub a little pumice stone over it with the finger1 and then1 if it is mounted1 remove it from the card by placing it in warm water and allowing it to soak for an hour or two1 or over night if necessary4 ,after it is thus freed from the card lay it face down on a piece of glass1 and sponge off all the starch from the back4 ,cut a piece of blotting paper the size of the picture and lay it on a glass1 wetting it with water applied with a sponge2 then lay the photograph1 still wet1 on the blotting paper1 and1 with a sponge1 remove all the surplus water from its surface4 ,now proceed to color it according to the directions given in the preceding pages for coloring photographs with transparent liquid water colors4 ,in case you should put on too much color1 let the photograph soak a few moments in warm water1 when the surplus color will gradually come out1 and you may then recolor it4 ,after it has been finished to your satisfaction1 proceed to mount it according to the directions next given4 ,,mounting ,,french ,,crystals4 ,the glass for mounting1 whether flat or convex1 should be the same size as the picture4 ,it should be dipped in water and permitted to drain off1 but do not dry it2 pour a little of the compound on the side against which the photograph is to be placed--the hollow side1 if the glass is convex--let it drain off and lay the picture face down upon it4 ,with the thumb and finger commence at the centre of the photograph1 smoothing it down close to the glass1 forcing all the air bubbles out to the edges1 thus continuing until the picture is entirely smoothed out1 and at every point in actual contact with the glass4 ,during this process hold the glass at an angle1 so that you can see if there are any air bubbles or glistening places in it by examining its face occasionally2 and always let a little of the compound get on the back of the photograph1 as it allows the fingers to glide over it more easily and lessens the chance of tearing it4 ,now take a second glass the same size as the first1 and having thoroughly cleaned it1 fasten it to the back of the other by small strips of gummed paper4 ,then place a piece of card-board of the same size on the back of the two glasses and fasten the three together also with small strips of gummed paper2 finally securing the whole firmly together by binding it with some large strips1 and your picture is ready to frame4 ,in case you do not care to frame it1 cut out a piece of some dark fancy paper1 a quarter of an inch on each edge larger than the picture1 and fasten it1 dark side out1 on the back1 allowing the quarter of an inch to lap over and be pasted on the face1 after which straighten the edges with a ruler and sharp knife4 ,,finishing ,,photographs ,,in ,,india ,,ink4 ,the principles that have been given in regard to finishing photographs with lines1 apply also to finishing with ,india ink--with the exception that in the manipulation of the ink it must be remembered that it cannot be taken out2 therefore1 you must commence to finish the photograph gradually1 and produce the proper strength by repeatedly working over it4 ,the old method of making ,india ink portraits was to have a print on plain paper--a kind without albumen on its surface4 ,the great disadvantage of plain paper is that the lights and shadows on it are not strong1 and therefore it takes too much work to finish the picture4 ,the following method 7which is very simple and can be used in work on albumen paper1 provided you have treated it by rubbing pumice stone over its surface with your fingers71 adapts it to ,india ink4 ,of course the pumice stone treatment destroys the albumen on the surface1 causing it to have a dull appearance1 but after the picture has been finished its lustre can be restored by the use of a not too warm burnisher4 ,in finishing the photograph commence on the hair by washing it all over 7with the exception of the highest light7 with a weak solution of the ink1 using the brush in the same direction that the hair goes2 after this has dried1 indicate the half-shadow with a little stronger wash1 and after drying it again put in the deeper shadows1 then the eyebrows1 eyes and beard1 if the subject has one4 ,faces are finished in ,india ink on the line principle1,d which shows the grain of the flesh4 ,commence on the forehead with a very weak solution1 and then continue it all over the face1 repeatedly working and cross hatching with lines until the face is dark enough2 then strengthen the shadows under the eyes1 nose1 mouth and chin4 ,after the face is completed put in the clothes4 ,this you do by washing them over with two or three solutions of the ink1 and then producing the line effect as in work on crayon portraits1 explained on page #gf1 the difference in the nature of the material used being always borne in mind4 ,after the picture is otherwise completed1 you can brighten up the eyes and some of the strongest shadows with a solution of gum arabic and water4 ,,footnotes3 ,footnote ,d3 ,see pages #eg and #gb4 ,,conclusion4 ,while it is thought that all essential instructions on the topics treated of have been given in the foregoing pages1 and that if faithfully followed they will lead the pupil to attain satisfactory results1 it is hoped that my readers who have accompanied me thus far will not be content to continue to use a photograph as the basis of their work1 but will advance to the pursuit of art in a broader and more scientific manner4 ,as a step in this direction the study of form1 and light and shade1 by drawing from the cast should be taken up2 and to this work the directions as to light and shade given in the foregoing pages fully apply1 that requiring the object to be placed in such a position that the light will strike it at an angle of ninety degrees being always borne in mind4 ,the student will do well to gain all he can from the published works of the leaders in the profession1 whose writings1 both theoretical and practical1 are invaluable4 ,three essays by ,john ,burnet ,i can very heartily recommend4 ,they are ,practical ,hints on ,light and ,shade1 ,practical ,hints on ,composition1 and ,the ,education of the ,eye4 ,these are published in a single volume1 which is illustrated with examples from the great masters of the ,italian1 ,flemish and ,dutch schools1 and should be in the hands of every amateur4 ,they will all repay perusal and study until their principles are mastered4 ,an ,english edition of these books is published by ,james ,carpenter1 ,london1 and in this country they have been reproduced by ,edward ,l4 ,wilson1 editor of the ,philadelphia ,photographer4 ,another book which abounds in valuable and practical information for the amateur and can be highly commended1 is ,art ,recreations1 a ,guide to ,decorative ,art1 by ,marion ,kemble1 published by ,s4 ,w4 ,tilton ,co41 ,boston2 also ,j4 ,bacon's ,theory of ,coloring1 issued by ,geo4 ,rowney ,co41 ,england4 ,those who are disposed to treat disdainfully the work of finishing photographs in crayon and color as not demanding truly artistic qualities1 should not forget that success here has still a real value in awakening in many who undertake it a feeling for art of a higher kind1 and in developing a natural talent which otherwise might have been undiscovered4 ,many an artist now looks back with pleasure and gratitude to this sort of work1 in which he received the first impetus toward higher effort4 ,in answer to the assertion which is sometimes made that transparent water colors are not permanent1 ,i claim that in the sense in which the word is ordinarily used in connection with photography they may properly be called so4 ,in this sense the lasting qualities which characterize the materials used by the old masters are not looked for1 but where photographs have been thus colored1 finished in the form of ,french crystals1 and properly sealed from the atmosphere1 they are practically permanent4 ,i have some in my possession that were made years ago1 and they are as bright and fresh to-day as when first colored4 ,it can be truly said that photographs colored in this way make very beautiful and pleasing pictures1 obtainable with but little work and expense1 and having practical permanency of color4 ,as a final word to those who intend to follow art as a profession1 ,i urge the earnest study and mastery of drawing at the outset as the foundation of all art2 then take up work in body water colors1 and when the theory of coloring is fully understood1 do not neglect the careful reading of books of acknowledged merit bearing on your work4 ,the more notes you take in the course of your reading the more fully you will assimilate the author's thought1 while1 at the same time1 you furnish the easiest means of rapid review4 ,after all1 your soundest basis for work will be your deep and continuing love for it1 and your willingness to labor long and conscientiously to attain excellence4 ,do not imagine that the profession of an artist is that of an idler4 ,on the contrary1 of all occupations it is perhaps the most active1 for one is constantly engaged1 if not with art itself1 at least with its materials4 ,every artist will confess that were it not for the charm with which it rewards the votaries who follow it from love1 the pursuit would be a painful one1 such vigilant precaution does it require1 such constant foresight1 such calculation and preparation against possible difficulty on every hand2 but the true artist1 happy in the daily gain of knowledge which his experience brings him1 and delighted with the gradual mastery of his work1 as a rule lives along enjoyably1 retaining more than most men the freshness of youth while he gains in power as he advances in years4 ,so pleasant a fate as this for each of his readers is the closing wish of the author4 99 99 99 99 99 ,transcriber's ,notes ,moved some illustrations to avoid breaking up paragraphs of text4 ,the page references in the ,list of ,illustrations refer to the original book4 ,corrected minor punctuation errors and hyphenation inconsistencies1 and made the following changes3 ,page #ej3 ,changed necesssary to necessary3 7all the details necesssary74 ,page #fg3 ,changed ,appelton to ,appleton3 7,from the ,annual ,encyclopedia4 ,copyrighted1 #ahia1 by ,d4 ,appelton74 ,page #gd3 ,changed where-ever to wherever3 7using the latter where-ever a lighter effect is required74 ,page #ij3 ,changed picrure to picture3 7,and when a picrure is composed chiefly of middle tint74