MATERIALS FOR Crayon Drawing. P« Weber & Co.’s PhiladelphiH Crayon Sauce, in tin foil and in glass vials. CONTE CRAYONS IN STICKS AND IN WOOD. GERMAN CRAYONS. F. WEBER & CO.’S PALETTE CRAYON OUTFIT, Fitted complete with Materials for Crayon Drawing. PRICE, $1.35, Paper, Leather, Cork and Pith Stumps, Chamois Palettes, Chamois Skins, Crayon Holders. F. Weber & Co.’s Sphinx Rubbers, Nigrivorine or Pointed Rubbers, Sponge Rubbers. CONTE, BERYILLE AND ROTJOET CHARCOAL. F. WEBER & CO., Philadelphia, Pa, Digitized by the Internet Archive in 2016 https://archive.org/details/completecomprehe00croc_0 A COMPLETE AND COMPREHENSIVE TREATISE ON THE ART OP Q rayon P ortraiture IN BLACK AND WHITE. By J. B. CROCKER. PHILADELPHIA : F. WEBER & CO., 1125 CHESTNUT STREET. _ TT f 018 Oi.ive St., St. Louis, Mo. Branch Houses:^ North Chakles Si „ Baltimore, Mix 1895 . CONTENTS w INTRODUCTION. CRAYON PORTRAITURE. MATERIALS. PAPER. STRETCHERS. CRAYON SAUCE. THE PHOTOGRAPH. THE ENLARGEMENT. THE METROSCOPE. THE PANTOGRAPH. THE TRANSFER. THE LIGHT. THE METHOD. THE BACKGROUND. THE DRAPERY. THE HAIR. THE EYES. THE NOSE. THE MOUTH. THE FOREHEAD.- THE FACE. FINISHING. POINT WORK. FULL-LENGTH PORTRAIT® SCENIC BACKGROUNDS. LANDSCAPE DRAWING. TO FIX CRAYON DRAWING S& GENERAL REMARKS. CHARCOAL DRAWING*. CONCLUSION. COPYRIGHT 1884 BY uch, and thus be destroyed ; therefore place the vetcher upon the easel, and with one of the small aper stomps, slightly blackened in the crayon auce, go over all these outlines once more very lightly in order not to lose them while at work gjipon the portrait. Do not make these lines hard, mr they will show when the picture is finished, and Jdius spoil the effect of the work. THE EIQHT. O work to the best advantage proper light is ^ necessary. A north light is considered the most desirable. Place the easel in such a position by the window as to allow the light to fall upon the stretcher from the left side. There is one advantage, however, in crayon work over oil or water colors, and that is it can be executed in the evening under a strong light equally as well. THE JV1ETH0D. NE of the first steps in all branches of art work is to put in the values — that is, the darker shadows. Pay no attention to the high lights, they will take care of themselves, it may 22 CRAYON PORTRAITURE be well to state now tlie necessity of working at air cr'i. times and upon all parts of the picture very lightly ts 0 ( (j as hard rubbing will produce a muddy effect. Th lighter the touch the more transparent and beauti^ m ful the result. tor Take one of the paper stomps, put it in the brass holder, rub it thoroughly in the crayon sauce, 11 twisting it around until it is entirely covered with r the sauce on the point and tapering end. Apply this first to the pupils of the eyes, the nostrils, and the line through the centre of the mouth. Next with a broad stroke (not a sharp one) to the lids of the eyes, the dark shades in the ears and the eye- brows, following the outlines very carefully. The stomp having now cleaned itself somewhat is ready for the values in the face. In applying it to these shadows do not use the point as you would a pencil, but rather with broad strokes. Tint the iris of the eyes, the shadows under the eyes, the curve in the nose, and around the nostrils. Do this in little short strokes in one direction first, parallel to each other, afterwards crossing them at an acute angle — never at right angles. The shades in the cheeks and forehead are next in order, in the same manner. The work will appear rough and spotty at first, but these values are necessary. The cleaning up will be described later on. In shading the cheeks commence each stroke at the outline, working inwardly, and these may be curved slightly, hatching in the same man- ner at an acute angle boldly, yet so lightly that real lines are avoided. Look the face over tlior- IN BLACK AND WHITE. 23 iglily and pat in all the darker shades, hut not ; strong as they will be required, as the work will ok more transparent by gradually strengthening lem, rather than in attempting to produce the roper strength at first. Next put in the values of the hair, not in fine nes, but in broad strokes, with the chamois stomp, >ut in this there should be no hatching. Make all he strokes in the direction in which the hair is ;oinbed. Leave the high lights as in the face, for he present. Watch the photograph closely, and put them on in the right place. In putting oil any and all of these darker shades, either in hair, face, or drapery, always commence at the darkest part of such shadows and let the stomp move in the direction of the lighter. Now turn to the drapery. A black broadcloth coat, or a silk dress, should be worked in the same manner, except it may be the latter can be finished a trifle finer. The drapery may be worked up with the chamois or paper stomp, the method being the same as above described — short broad strokes crossing at an acute angle, being careful not to make the strokes all one way. In ending off the drapery great care must be observed to have it grow lighter and lighter until it is lost entirely. It must not have the appearance of being cut off abruptly. The background should be worked up in the same manner as the coat, only not so dark, or it can be put in with the chamois pad, slightly tinted with the crayon sauce, and applied with a circular 24 CRAYON PORTRAITURE motion, commencing at the coat and face, and work- ing away from them, gradually growing lighter and lighter, having no abrupt ending. Never make the background around the entire head in a bust pic- ture. Even if the subject has gray hair this is not necessary; it will have too much of a photographic appearance.' Make the darkest background next to the highest ligut oi rue face. Artists differ very much in opinion upon the subject of backgrounds, and almost every one has a style of their own. Again, nearly every portrait requires a different one, but generally all that is necessary is a light transparent atmosphere, varying in depth to suit the subject. A strong face, well defined, and with dark hair and eyes, will bear a stronger back- ground than one of a little child. The drawing now, if the above directions have been followed carefully, has all the values or prin- cipal shadows in their proper places. The next- steps to be taken will improve its appearance. THE DRAPERY. I HE drapery should receive its finishing touches " 1 first in order, leaving the face for the last. Take the chamois stomp, using the cleanest end, and borrowing color from the values, sweep it gently and lightly across the high lights in differ- ent directions, crossing them occasionally as previ- ously described. Note the subject carefully and IN BLACK AND WHITE. 25 low tlie modeling to give the proper roominess J the lappels of the coat, or folds in the dress, giving borrowed from the values, they may now ed strengthening again. If the work thus far is ry uneven, take the conte rubber, with a fairly uxrp point, and clean off the larger spots, usings e rubber in the same manner as the stomp, hatch- g over the spots until the entire drapery is com- aratively even, and of one general tone, darker )ward the shoulders and neck, and ending very gktly if the subject be a vignette, otherwise of ourse cover the whole in imitation of the original. >ut portraits should always be vignetted. Details re not required in drapery, except perhaps the •art nearest the face, as the collar, necktie, or >tker neck trimmings. Never attempt to imitate oo closely the different styles of materials com- posing the-same, except it may be in the forms of the folds, and the manner in which the light strikes them. By observing this rule it will not be difficult to decide of what material the drapery is composed. To produce the effect desired the paper stomp should be used. Commence with considerable color, in the strongest shades first, hatching in short strokes, tolerably open, but not too much so. This produces a light and transparent appearance. It also gives depth, enabling one to look into them, which would not be the effect if rubbed in too hard and closely. The entire drapery should be worked up in this manner, using the rubber to clean off the spots, filling up the lighter places with the 26 CRAYON PORTRAITURE stomp whenever required, and strengthening the extreme shadows, where they require it, by adding more color to the stomp. Do not leave the out- lines of the shoulders too sharp, but go a little be- yond them, lightly, to produce a soft and natural effect. Study the original and you will notice gen- erally a shade on the collar and shirt-front; put these in evenly with the paper stomp. Lace work should not be followed with too much detail, but made somewhat indistinctly, with a piece of chamois slightly tinted, taking out the whiter spots or figures with the rubber, working for a general effect as to the design of the figure, leav- ing it as a whole very delicate and soft. Many artists use white crayon in lace or embroidery work, but it is gradually going out of use. If a very strong white is required in any part of the drapery or lace, and the rubber is not effectual in removing the crayon, take a very sharp knife and scrape the paper until the proper effect is pro- duced. if, after following all these instructions, the drapery does not appear quite as even or regular as may seem desirable, take the round conte crayon, sharpen one end of it to a very fine point, place it in the brass holder, and go very lightly in little short strokes over the imperfect places until the appearance is satisfactory. IN BLACK AND WHITE. 27 THE BACKGROUND. J*|rHTS should next claim attention, and should be worked up in precisely the same manner nr method as described in the drapery, only not as dark, except the subject should liave a white dress, when this rule should be reversed. This subject, however, is almost inexhaustible. The face is what should first attract the eye in a portrait, and anything which detracts from that will injure the general effect, whether it be an elaborately finished collar or pin, or a striking background. Bear in mind that every other part ot the picture is merely an accessory to the face, and therefore should not have undue prominence. If the picture be a Rembrandt it will bear a strong background upon the side of the face where the light is strongest, while upon the darker side it should be lighter, Cloud rifts make a very pretty and effective background for some subjects, but the outer and upper sides must always fade away with the utmost delicacy. A very sharp point may be used in cleaning up a background if found necessary to give it an even tone. A few pictures will bear a solid background, which is made by first going over the entire surface of the paper or stretcher around the picture with a pad of chamois moderately blackened with the sauce, after which take the square conte crayon No. 3, place it on the broad flat surface of the side, and rub witis. a circular motion until the paper will 28 CRAYON PORTRAITURE hold no more. Then with the two fingers of the right hand go over it with the same circular mo tion until the surface is one unbroken mass of black. Be careful not to overrun the outlines and get spots on the face of the drapery. Repeat this, if necessary, until the proper depth is produced. Another method, if a grayish tint is desired, is to proceed as above with the black crayon, after which take a piece of soft white crayon, place it upon the stretcher in the same manner and pro- ceed to rub this over the black, afterwards blend- ing it with the fingers as before, and the result will be a gray, varying in shade and proportion to the predominance of the white or black. All such backgrounds, however, are easily injured, and should be framed and placed under glass as soon as possible. The subject of Scenic or Landscape backgrounds will be treated under its respective head. THE HAIR. §j|N shading the hair only use the stomp in one (jtl direction, or back and forth if the crayon does not adhere to the paper well, and the effect will be seen at once. Endeavor to give the soft flow which hair should have. Avoid all lines, or any attempt to make individual hairs, as this would cause a IN BLACK AND WHITE. 29 hard and wiry appearance, and destroy the soft- ness and beauty of the picture. Hair is best represented as it is in nature, in locks and masses. Borrow from the darker shades and tint over the high lights with the chamois stomp, a little darker than necessary, and after- wards take out these high lights with the broad surface of tbe rubber. It may be found necessary to use the paper stomp before obtaining the proper finish, especially in working around the outside or outline of the head to complete its softness. The color of the hair can only be represented by the d iffe rent degrees of shade. White hair can be made exceedingly soft by using very little color, and doing most of the work with the rubber. Mustache or whiskers are made in the same man- ner, in masses, taking out the high lights with the rubber. Occasionally a few lines or single hairs may be put on with the point, both in the hair or the whiskers, when the picture is nearly finished, but all such must be put in very sparingly. The drapery, background, and hair are now sup- posed to be complete, excepting possibly a few finishing touches in the final softening effect. THE EYES, *AKE the paper stomp, slightly tinted with color, and proceed to finish the eyes. Bear in mind that the method of applying this to all 30 CRAYON PORTRAITURE parts of the features should be in short strokes, very lightly crossing them at an acute angle, using care not to have them too oblique, and never at right angles. Begin with the upper lids, darken them slightly, and working upward and away from them toward the eyebrows. Strengthen the pupil all that it is possible and proceed to tint the iris, making the upper part of it darker in shade than the lower, as there is always a shadow cast upon it by the eyelid. The lower lid should not consist of a line, but is formed by the shading above and below it. Study very carefully the original pic- ture and note all the peculiarities of form and expression. Leave the catch lights in their proper places if possible. This, however, is optional, as they can easily be made after the eyes are finished by scratching them with a knife, or they can be put in with Chinese White on the tip of a brush. Darken the corners and tint very lightly the ball, which should never be left perfectly white. If, during the work, any part becomes too dark, or spots are left, lighten such and take off the spots with the rubber. The eyebrows should be put on in the same manner as the hair, but be careful to tone them down to the proper depth gradually, preserving the proper form or shape. Next take a clean pajier or chamois stomp and pass it smoothly and broadly, back and forth, over the lids of the eyebrows, going a little beyond the latter on the forehead. This tends to give softness, and blends these shadows oft into or toward the high lights, thus giving the IN BLACK AND WHITE. 31 desired roundness. In the iris there should be 9 opposite the catch light, a lighter tone, called re- flected light, but the remainder of the iris should be shaded to a greater or less degree, according to the subject. The pupil can now be strengthened by using the conte crayon point, making it a very deep black. HERE should always be a dark shadow under the eyebrows toward the nose ; borrow from this to shade the sides. Put in the nostrils, using care to have them the proper shape, but not quite so large as the outline, as the remainder will work into a half tone when blending, and give the proper roundness. Work away from them now, giving the proper curves to the lower part of the nose, blend- ing the nostrils until the proper shape is produced. Carry up the tones toward the eyes and off slightly toward the cheeks. Remember if a wrong movement is made, or too much color put on, the rubber will soon restore it to its proper tint. Leave the easel occasionally and view the work from a little distance. In all well lighted photographs one side of the face is in stronger shadow than the other. This must be noticed in shading the nose, and if carefully exe- cuted and well modeled the nose will appear to stand out from the face in a natural manner. THE NOgE. CRAYON PORTRAITURE THE MOUTH. ‘HIS is one of the important features of the face, and great care should be exercised not to lose the expression in working it up, giving firmness and strength in the masculine, and sweet- ness and delicacy in the feminine. Ho not make a hard line through the lips, but begin at the cor- ners, making those the strongest, working from them with a lighter touch to the centre, where the greatest fullness lies, and at this central jKhnt there is generally a slight curve, which must be carefully preserved. Make the shadows, half tints nnd lights in exact imitation of tbe original. Avoid all hard outlines in the lips by working up to the outlines very carefully. In fact, there is not a single line in the whole face — the seeming lines nr boundaries being caused by the sharp approach of light and shade. THE fOEEHEAD. ‘HE process of putting in the shadows in the forehead is precisely the same as has already been described 5 short strokes, slightly curved at the temples, clearing off the spots, and filling up the large lighter spots until the work looks clean IN BLACK AND WHITE. 33 and yet moderately open. Soften the hair where it falls upon the forehead, or where it joins the face about the temples, but do not be afraid of los- ing the line of where the hair commences, or the forehead begins. It wants to be lost. It must be soft to make the picture artistic and natural. Generally the strongest light on any picture is on the forehead. If the subject should be that of an elderly face, many wrinkles will be noticed. These are put on boldly at first with the paper stomp, in their exact position, after which soften them above and below with a clean stomp, and if too strong lighten them with a finely pointed rubber. THE FACE. SjtpELE blending of the values in the face should mow receive attention. The deepest shades should not be carried to the extreme outline of the face. There is always a reflected light which will escape the notice of the beginner, if strict atten- tion is not given. This is often the case in the forehead and the chin as well as the cheeks. Remember there must be no distinct or abrupt ending of any shadow ; each one must blend off gradually into the other, or into the high light. As a general rule the high lights should not be 34 CRAYON PORTRAITURE left with the pure white shade of the paper. They should all be tinted, although so lightly it will be almost impossible to decide whether they have received any tint at all. There are many half tones, however, which must be preserved. No special instructions are required in regard to the ears, as the work should be the same as described for the other features ; preserve the form and shape of the shadows, and blend to give softness and rouudness. HE final finishing touches can now be given. Look the work over carefully and soften all the outlines or outer edges of every part of the picture Do this with the small paper stomp, fairly clean. Examine all the deeper shades, and strengthen all that may seem to require it, or lighten such as may be too dark. The stomp and rubber alone will be required for this work, and it would be well to rub the paper stomp on the block of sand-paper to soften it slightly. The rubber should also be trimmed with a knife, after which rub off the sharp edges on the sand-paper, leaving it moderately sharp at the point. If any white spots are noticeable in any of the shadows, either in the face,, drapery, or back- FINISHING. IN BLACK AND WHITE. 3& ground, fill those up to the desired tone with the stomp. If any of the hatching appears too broad or too open, fill that up slightly. Take out any desired high lights in the hair with the rubber, as such are much more effective than they would be if any attempt was made to leave them during the progress of working. Any outline that appears too hard or cutting may be softened by working upon the edges a little beyond, for every part must be round and soft, and there must also be .strength, as well as softness. The color of the eyes or hair can alone be represented by light and shade. It is these finishing touches which will, in a great measure, give to the portrait its life and beauty. Study your picture from a distance, and note where a few touches will improve its appearance. Exam- ine the drapery, the high lights on the collar or tiie lace, clear up any places that may have become rubbed, and leave no spots or specks to mar the clear and even effect of the work. These little touches may seem insignificant, but they will greatly enhance its value. In conclusion, remember that skill can only be acquired by continued practice. Be willing to spoil several pictures, if necessary, to acquire the art at last. Consider it a necessity to learn to draw. In u H nut’s Talks on Art,’ 7 he says : “ Any one who can make the letter D can learn to draw, Learning to draw is learning the grammar of a lan- guage.*’ Study the faces upon the street, note the shadows and high lights, and thus become familiar CRAYON PORTRAITURE 06 with the human features. Read these instructions over carefully and studiously, and follow them step by step, for no amount of labor is too great to accomplish the object desired. It might be well to advise the student to make several outlines of the same subject. In the first one put in the values, making them comparatively clean, and blending the edges off upon the high lights, and leave it in this unfinished state. In the second put in the same values, strengthening and modeling them to give the necessary roundness and form. The third and fourth should be carried each one a little farther toward completion, and the last one may be finished in all its details. Hang these up side by side in the order in which they come, and they will be found of great practical value as a key from which to obtain such know- ledge as may be desired, whUe the practice itself will enable you to use the stomps with greater freedom. POINT WORK. [ANT artists do not use the point in finishing a crayon portrait, and even such as do em- ploy it usually have a method peculiarly their own. In all cases, however, it should be done with a long finely pointed crayon and very lightly. It is also often used in a gliding motion in different IN BLACK AND WHITE. 87 directions, so lightly and so openly that the grain of the paper only catches the crayon, hut great care must be taken to preserve the evenness of the tone, leaving no spots that are darker than the others. Again, a very fine effect is produced by lightly hatching the face, after the manner of using the stomp, curving the strokes in the direction of the fibres of the fiesh, namely : horizontal on the fore- head, perpendicular on the nose, and circular around the eyes, mouth and general contour of the face. All such strokes should begin lightly and end lightly, and should be regular and parallel to each other, crossing at acute angles. All point work requires a vast amount of practice, and it would be best for the student to become proficient in stomp work before attempting the use of the point. By proper use of the paper stomp and rub- ber an effect can be produced almost if not quite equal to the point. FULL-LENQTH P0RTRAIT3. 'ULL LEYGTH portraiture is a different W branch of work, and requires more study. Yet it is generally the desire of every artist who acquires skill in portrait work to be able to execute a full or half length figure.