DRAPERY.
All drapery in a crayon portrait must be treated as simply as possible, being regarded only as secondary in importance to the head, which is, of course, the main object of interest.
All elaborate trimmings or pronounced fashions should be avoided.
Different kinds of material are interpreted by carefully studying the different forms of the lights and shadows in each. For instance, black satin is rendered by large masses of black, as black as crayon can be made with sharp, narrow high lights, so light as to be almost white.
In black silk, the masses of dark are lighter in their general tone, and the lights less sharp and brilliant.
The different colors are represented by lighter or darker tones, as the case may be.
In black velvet, the masses of dark are softer than in satin and not so jetty black, while the lights are less brilliant and more diffused in effect, leaving more half tints than are seen either in silk or satin. In black cloths the lights are quite low in tone and the darks are not very black, no sharp high lights are seen at all, both light and shade taking large and simple forms.
White stuffs, such as lace, muslin, etc., are also kept simple in effect, and are laid in with a very delicate tone all over the mass of light, and the high lights are taken out with bread.
The shadows should also be delicate and transparent and not too dark. White hair is treated in this way also, the character of the hair being indicated by the form of the lights.
When there is a white cap upon the head or lace of any kind, do not make it too prominent, but carefully study its value in relation to the face.
CHAPTER VII.
CHARCOAL AND CRAYON DRAWING WITH THE POINT; LANDSCAPES, PROPORTIONS, ETC.
This method is principally used by artists in making drawings for illustration, as stump drawings can not well be reproduced. The manner of working is as follows:—
Sketch in the outline with the charcoal stick, sharpened to a point, and then proceed to block in the shadows, which must be drawn in with careful attention to the form, for the reason that it is best to make a distinct outline of each mass of shadow where it meets the light. These shadows are now filled in with the pointed charcoal, used in close parallel lines until a flat, even tone is obtained. It is not necessary that these lines should be distinct, or of exact regularity, as in the very darkest shadows no lines at all should be seen. The half tints are managed in the same way with the point, which may be used in the direction of the features to some extent.
The main thing to be remembered is that no stump must be used, nor the charcoal rubbed in any way. For erasing, bread is the best, though rubber is sometimes found useful.
The crayon point is employed in exactly the same way as the charcoal, the directions applying equally to both. All drawings should be fixed as soon as finished.