FILLING IN THE FREE-HAND CRAYON.
Having your crayon outline already made on the mounted strainer, lay the latter down on the table face up, and proceed to put in a pumice stone background with the crayon sauce according to instructions hereafter given on page [70] for producing that kind of background, making sure that you go entirely over the outline. Then place the strainer on the easel, and after putting in the cloud effect take the chamois block in your left hand, and, with a tortillon stump in your right, put in the shadows in a strong, clear and decided manner. Commencing on the hair, put in the broader shadows first, working the stump in the same direction that the lines of the hair go, and endeavor to give the soft flow that the hair should have, avoiding making lines or any attempt to make individual hairs. The eyebrows should then be put in in the same way as the hair, care being taken to preserve the form; then the eyes, beginning with the upper lids, putting in the lines between the eye and the lid, and also the second line forming the lid. Do not line in the lower lid between the eye and the lid, but put in the under line of the lower lid. Next form the pupil, placing it in the centre of the iris, making it very dark; then the iris, noticing in particular that the upper lid throws a shadow on the top of the iris; then the shading of the nose and nostrils and shadows under the nose. The mouth is the next important feature, and, as there are no decided lines in it, you must put in none, but have the degrees of light and shade form the mouth. Begin with the corners, and notice carefully that here lies nearly the whole expression of the lower part of the face; next treat the central point of the lips and complete the mouth; then make the shadows around the mouth and chin, after which, put in the ears, and then model up the face, making all the shadows broad and decided, leaving the details for the finishing touches, but being careful in the modeling to retain all of the values. Next put in the clothes with the large stump, sweeping it gently across the lights in different directions, allowing the lines to cross each other occasionally. Carefully preserve the form in this, giving the proper shape to the lapels of the coat or folds in the dress, and to the arms. Avoid detail and do not carry the clothes as far down as you want them to show in the finished picture. Lace work should not have too much detail, but be made somewhat indistinct; only show a few of the forms out sharp and defined, giving the pattern.
LINE EFFECT.
This can be produced in crayon portraits made over a photographic enlargement, or in free-hand crayons after the filling in just described has been done. The lines are drawn to cross one another so as to leave diamond shaped spaces. One of the important things in this style of finishing is the line of direction, by which is meant the lines or grains that represent the object to be drawn. We say that wood is cross-grained, meaning that the grains or fibers of the wood run crosswise. If we were to represent a straight board in crayon drawing, we would draw straight lines running lengthwise of the board, unless it should have some cross-grained places in it, as that is the way the grain of the board would be. If we should take the same board and bend it in the form of a circle, we would in order to represent the board in that position, draw lines running in a circle to correspond with the grain and position of the board. The idea to be impressed is, that when we want to represent an object with crayon and that object is flat, we draw straight lines to represent its surface; and when the object is round or partly so, we draw curved lines, conforming them to the surface of the object. Light and shade in nature have each their different qualities. Light expresses form while shade obscures it; consequently, in the light places of an object we will see its grain or texture, and that grain or texture will gradually become obscured as it enters the shadow until it is entirely lost in the deepest shadows. This grain will not show in nature as decided where the strongest lights are as it will in the half shadows; and, therefore, in the crayon representation the grain effect should show more decided in the half shadows. If your crayon is not true in this respect, it will appear coarse and fail to please as a work of art on account of its falsity to nature. The line effect is produced throughout the whole picture, in the background, face and dress.