The paper having been cut the proper size, that is, large enough to turn over nearly an inch all around, is dampened on the wrong side. To do this take a clean cloth dipped in cold water, lay the paper flat upon a table and pass the cloth rapidly all over the surface, wetting it evenly.
Have ready some good flour paste and put this all around the edge of the paper for about an inch. Now begin to spread the paper while still damp upon the cloth-covered stretcher, starting at the bottom and working upward, carefully smoothing out with the hands all creases or air bubbles. Turn over and press down the edges of the paper which have been covered with the paste, holding them till they stick to the cloth, and cut a V-shaped piece from each corner of the paper, so that it will fold over neatly.
This takes time and experience to do well, but is worth the trouble, for crayon portraits especially.
For ordinary studies and drawings, the Michelet or Lalanne paper fastened to the portfolio or drawing-board with thumb tacks is quite sufficient.
CHARCOAL.
There are many different kinds of charcoal offered by dealers. All that is necessary, however, is a medium quality of imported charcoal, such as the Fusains Venitians, costing 30 cts. a box of fifty sticks. Finer and more expensive kinds are the Conte and Rouget charcoal.
CRAYON.
Among the various manufactures of crayons that most generally preferred by artists is the French crayon Conté. This comes in several numbers, and is to be had in two forms. First, the wooden pencils, which are very convenient, and again, the short sticks of black crayon, which are sold by the dozen. These are much cheaper than the pencils, and are fastened in a holder while using. The Conté crayon No. 2 is sufficient for all purposes, therefore it is unnecessary to have the several different numbers so often recommended.
Another kind of crayon is also used by some artists in addition to the stick crayon. This is a fine, black, powdered crayon, called the “sauce crayon,” and comes put up in little tin cases. It is very useful when large masses of dark are necessary, and is rubbed on with a stump, while the stick crayons and charcoal sticks are sharpened to a point before using.
Stumps are made variously of leather, chamois-skin and paper. The most useful in charcoal and crayon drawing are the paper stumps, which will be found to answer every purpose. The paper stumps come in two forms; first, the gray, rough paper stumps with points on both ends; these are made in various sizes, from the smallest, which measures only about one fourth of an inch in diameter, up to those measuring an inch and more.