The Conté crayon No. 2 sharpened to a fine point is rubbed all over the mass of shadow already laid in with charcoal and is then softened with the stump in the manner already described, the charcoal and crayon together producing a beautiful quality of tone.
Let me here mention that some artists prefer to use the sauce crayon for putting in large masses of dark, such as shadows, hair, drapery, etc. The student should try both methods and use either or both, as he may prefer.
The sauce crayon should be rubbed off on a small piece of charcoal paper and tacked on one side of the drawing so as to be convenient for use.
The point of the large stump is now rolled around in the sauce or powdered crayon thus prepared, and is then rubbed into the shadow until the whole is covered with the crayon and presents an even dark tone.
The sauce crayon is only to be employed for large spaces, and is useful in saving time, as it takes longer to cover the surface with lines made by the crayon point. Still many prefer the latter.
The crayon point is always used in finishing up the drawing, which is carried on by degrees. The dark accents are put in the eyes, nose, mouth and ears, and the small stump is used to soften the marks of the crayon, but should not be rubbed too much.
If the head be rather dark in its general effect, a very delicate gray tint should be put all over the light mass of the face. This is done with a clean stump which has been used for half tints, and the tone is put on in the same manner, the crayon point not being used here.
The high lights are taken out with the bread rolled to a point, and should be made sharp and distinct. The hair is carried on in the same manner as the face, the dark accents and details being put in with the crayon point and softened a little with the stump. The half tints are developed and reflected lights taken out with bread. The high lights are lastly rubbed out in the same way, taking care always to preserve the exact form of the lights where they meet the shadows.
In drawing hair, do not attempt to put in too much detail. The deepest shadows and the highest lights should always be kept simple. The most detail is generally seen in the half tint, but should be very carefully studied only in the most prominent parts, the rest being left in a suggestive way.
In working thus with charcoal and crayon, there are one or two things that should be always kept in mind.