RAGS.
A fine, soft cotton rag is one of the most important adjuncts to our outfit, as it is impossible to work without one. The rag is used sometimes to dust off charcoal from the paper, and if the charcoal has not been very heavily used, the rag is often sufficient, neither bread nor rubber being necessary.
A rag is also useful when too much charcoal or crayon has been rubbed on a tone.
Let us say, for instance, a shadow appears too black. A soft rag is passed gently over the surface, taking care not to rub too hard, and the superfluous charcoal or crayon will come off, leaving a beautiful soft tone of much lighter quality behind.
This tone can of course be darkened somewhat, or worked over in any manner desired.
The rag is often used in sketching landscapes, to spread a smooth, even tint for the sky. Many artists prefer it to a stump for this purpose. A fine, soft cotton rag is rolled in a long, smooth roll, and applied lightly to the surface of the paper.
The charcoal may be powdered in such a case if preferred, or for crayon drawing the “sauce crayon” is used.
TO “FIX” DRAWINGS.
Charcoal will of course rub off, and drawings become smeared and defaced if left unprotected. For that reason it is customary to “fix” the drawing by the application of some preparation to its surface.
This should be done with much care, and only the very best materials should be used for this purpose. Amateurs and students sometimes endeavor to manufacture fixative for themselves out of shellac and alcohol. This may succeed in fixing the drawing, but will be very liable to turn the paper yellow in time. Artists, therefore, prefer to buy an imported fixative, which is made by a reliable manufacturer. That most generally in use, and which we have found by experience to be in every way satisfactory, is the Fixatif Rouget, which comes in good-sized glass bottles, costing at retail fifty cents each.