Tint all the darker shades on the entire face in the same manner, not as dark at first as they will be required. Leave all the strong high lights perfectly white until the picture is nearly finished. In putting on these shadows the hatching process will be found the most effective, not, however, by making strong lines, but simply have the strokes of the stomp made in such direction, very soft and indistinct. If any large white spots seem to remain, thus destroying the evenness of the tone, touch them over lightly until the tone resembles in quality a wash with India ink or water color, gradually growing lighter and lighter until lost in the high lights and half tones. The beauty of the finished portrait will depend very largely upon this blending, as there must be no abrupt ending to any shadow. Leave the face for the present, and take the chamois stomp, rubbing it on the block of crayon until the end is thoroughly covered. Lay it very flat and lightly on the parts of the hair which are the darkest, commencing at the deepest part of such shades, and ending toward the high light. Leave these high lights as in the face perfectly white for the present.
Try and follow the direction in which the hair is combed, but mass it. No attempt should be made to show individual hairs. It is simply light and shade in masses. Next take the clear end of the chamois stomp, borrow from the darker shades to tint the high lights, making broad strokes. If this makes them too dark, lighten with the rubber. All rubber strokes in the hair should also be broad, not fine lines. The drapery comes next in order. A black silk dress or a broadcloth coat should be worked in the same manner. With the chamois stomp put in the darker places in the drapery first, following the same general rule of hatching only in broad strokes, not lines. Tint the higher lights in the drapery with the clean end of the same stomp, borrowing from the darker places as before. The same rule should be observed in ending the drapery as in the shadows of the face—let it become lighter and lighter, until lost entirely.
Note carefully the collar and shirt front. Generally there will be seen light shadows upon them. If so, tint lightly with a clean stomp, borrowing the color necessary from the drapery, not from the block.
If the drapery now appears spotty it must be cleaned up in the following manner. Fill up the lighter places with the paper stomp, rubbing lightly in different directions, while the spots that are too dark can be cleaned off with the rubber in light strokes. In this manner the drapery can be worked up very smoothly, and free from spots. The background should be worked up in the same manner as the drapery, only not as dark. Do not put a background around the entire head, only from the shoulders up about half the distance to the forehead. If the subject is a lady, and lace work is desired, make this with the paper stomp. Do not work for details, but in an indistinct manner, following the original design somewhat, but in soft strokes, taking out the high light with the rubber, if necessary. The drapery, background and hair are now supposed to be finished, the above directions having been followed carefully.
The finishing of the features must now be attended to. With a paper stomp, not too black, strengthen all the darkest shades in the face, borrowing color again, working the shades off upon the high lights, preserving the half tones and reflected lights. Unless the high lights are very strong in the original, tint them over slightly with a stomp fairly clean. It is hardly necessary to say the subject, or original photograph, must be studied very carefully. If this is done, and the outlines accurately made, a perfect likeness will be the result.
If the pupils of the eyes, or any very deep shadow, need a little strengthening, it can be done with the round Conte crayon, sharpened to a very fine point, and hatched lightly over such shadows.
The finishing touches must be made by using a clean paper stomp, going over the entire picture, a little beyond all the outlines, to soften them, thus producing a soft and natural effect. Last of all, take out the catch light in the eyes, with a sharp pointed knife, scratching it slightly until it is of the desired shape.
In closing these instructions, the writer wishes to impress upon the pupil or reader the necessity of working at all times, and upon all parts of the picture, very lightly, if not, a muddy effect will be the result. The hatching should be tolerably open, but not too much so. This produces the effect of transparency, which is very desirable.
If the above instructions are carefully studied, and patient labor put forth, any one may reasonably expect to obtain excellence in representing life-like and natural portraits.