Crayon Portraiture Part 3

The latter method results in a coa.r.s.er stipple effect, but it requires a much longer time and is more difficult than the former.

BACKGROUNDS--GENERAL PRINCIPLES.

Always commence the portrait by putting in the background. Among the four different methods which I have given, the student can make his own selection. For myself, I prefer the last two mentioned.

There can be no definite rule given for the lights and shadows in the backgrounds, as every portrait will need a characteristic background adapted to the subject. There should always be a nice disposition of light and shade, the light coming against the dark side of the face and the dark against the light side, and generally a cast shadow. What this is may be learned by setting a cast (or any other object) near the wall, letting the light strike it at an angle of 90 degrees, and noticing the size and position of the shadow thrown on the wall. The cast shadow in your background must not be too near the head, as simplicity should be one of the principles of the background, and this can only be attained by breadth of light and shade. The background is of secondary importance, and should not intrude itself on the portrait in its effect of lines or light and shade. Backgrounds for half or full length figures need especial study in their effect of lines, and one who intends to succeed in making them properly should study linear composition in Burnet's essay on Composition,[A] especially the following pa.s.sages. "Composition is the art of arranging figures or objects so as to adapt them to any particular subject. In composition four requisites are necessary--that the story be well told, that it possess a good general form, that it be so arranged as to be capable of receiving a proper effect of light and shade, and that it be susceptible of an agreeable disposition of color. The form of a composition is best suggested by the subject or design, as the fitness of the adaptation ought to appear to emanate from the circ.u.mstances themselves; hence the variety of compositions.

"To secure a good general form in composition, it is necessary that it should be as simple as possible. Whether this is to be produced by a breadth of light and shade, which is often the case with Rembrandt, even on a most complicated outline, or by the simple arrangement of color, as we often find in t.i.tian, or by the construction of the group, evident in many of Raphael's works, must depend upon the taste of the artist. It is sufficient to direct the younger students to this particular, their minds being generally carried away by notions of variety and contrasts.

"In giving a few examples of composition, I have confined myself to the four simple and princ.i.p.al forms, not only from their being most palpable, but also from their possessing a decided character, which is at all times desirable. To those who imagine that such rules tend to fetter genius, I shall merely quote Sir Joshua Reynolds, whose works, if properly understood, render all other writings on the subject of painting superfluous: 'It must of necessity be that even works of genius, like every other effect, as they must have their causes, must likewise have their rules. It cannot be by chance that excellencies are produced with any constancy or any certainty, for this is not the nature of chance; but the rules by which men of extraordinary points, and such as are called men of genius, work, are either such as they discover by their own peculiar observations, or are of such nice texture as not easily to admit being expressed in words; especially as artists are not very frequently skillful in that mode of communicating ideas. Unsubstantial, however, as these rules may seem, and difficult as it may be to convey them in writing, they are still seen and felt in the mind of the artist, and he works from them with as much certainty as if they were embodied, as I may say, upon paper. It is true these refined principles cannot be always palpable, like the more gross rules of art, yet it does not follow but that the mind may be put in such a train that it shall perceive, by a kind of scientific sense, that propriety which words, particularly words of unpractised writers such as we are, can but very feebly suggest.' (Sixth Discourse)."

FOOTNOTES:

[Footnote A: Essays on Art, by John Burnet, New York, E. L. Wilson.]

FIRST METHOD OF MAKING THE BACKGROUND--STUMP EFFECT.

To produce the stump effect, rub the chamois block in the box of crayon sauce, and then with the large grey paper stump commence by putting in the darkest parts and the cast shadow. Use the broad end of the stump, moving it over the surface of the paper with an even and uniform pressure, so that you will not make any dark spots. Make broad lines and have them cross each other so as to form diamond shaped s.p.a.ces, using considerable care and a very light touch in the lighter places.

Finish with the large rubber eraser, cutting it so that it will make white lines about the same width as the black lines made with the stump. Have these light lines run into the dark ones in some places, and use the rubber so as to produce a das.h.i.+ng effect.

SECOND METHOD OF MAKING THE BACKGROUND.

Take a handful of cotton batting, rub it in the box of crayon sauce, and then on a piece of paper before applying it to the crayon paper to make the background, being careful to avoid rubbing harder in some places than others, as dark spots are likely to be caused in that way.

Commence by rubbing in close to the face and work out towards the edge of the paper. Let the darkest part be closest to the face, shading out in the form of a circle about six or eight inches from the face, according to the subject, the upper line of the arc coming a little above the head. Then make the cast shadow and finish with the large rubber eraser, putting the lights, or cloud effect, as it is called, in the background. When doing this, place the strainer high enough on the easel to bring the centre of the picture on a level with your eyes, then standing in front of it and about six feet off, decide upon your plan of light and shade. After you have put in the first of the lights, step back to the former position, and see if it gives the proper effect. Continue this method of working until the background is entirely completed.

THIRD METHOD OF MAKING THE BACKGROUND--LINE EFFECT.

With the cotton and crayon sauce as in the preceding method, put in the dark places and cast shadow, but not as dark as you want them when finished; then with the crayon point No. 2 put in three sets of lines thus:--

[Ill.u.s.tration: BACKGROUND. LINE EFFECT.

_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton & Co._]

Do not carry out the lines as far as the background will extend when finished. The lines should be one-quarter of an inch apart in life-size portraits, and a little closer in smaller sizes. As a rule the lines are a little further apart in the background than in the face. These lines need not be horizontal, crossed by oblique ones at obtuse angles, but they can be curved lines, if desired, provided they cross each other so as to leave diamond shaped s.p.a.ces. After the lines are in rub a piece of clean cotton over them all, using pressure enough to subdue them to the degree of indistinctness desired; then finish with the large eraser and crayon point No. 2, putting in the cloud effect. Such lines as show too prominently you subdue with the nigrivorine eraser.

If there are any light places, make them dark with the crayon.

The background should be very indistinct on the edges, and be vignetted in the shape of an oblong, having some very light clouds above and on either side of the head. Let there be a nice contrast between the face and the background, having light come against dark and dark against light; that is, when one side of the face is dark and one side light, have the background light against the dark side, and dark against the light side; when light and shade are about equal on both sides of the face, have the background about the same shade on both sides, without too decided a cast shadow. If you have a subject that has gray hair, have the background darker than it would be otherwise. The background should never be darker at any place than the shadows in the face, and close to the face it must be a shade between the light and half shadows. Never resort to the practice of leaving the background white, as this will only give a hard, stiff appearance. Clean off the outside edges of the background with a clean piece of cotton and the pumice stone.

FOURTH METHOD OF MAKING THE BACKGROUND--STIPPLE EFFECT.

Lay a piece of manilla paper on the table about twelve inches larger on each edge than your strainer, placing the strainer on it face up; rub a handful of cotton batting first in the crayon sauce and then on the manilla paper to remove any foreign substance. Then apply the cotton with a circular motion to the crayon paper to make the background desired. Next sprinkle the pulverized pumice stone over the entire background, and go over this with the fingers in a circular movement, using them flat from the second joint to the ends; then lift the strainer up, and, resting it on the edge, jar off all the pumice stone, and when this is done, lay it down again and rub it off with a clean piece of cotton. Now rub the fingers in the crayon sauce, keeping them flat so that it will adhere evenly to them, and go over the background lightly as when rubbing in the pumice stone and you will produce a nice stipple effect. Finally, place the strainer on the easel, and finish according to the directions given for finis.h.i.+ng crayons made on bromide enlargements.

Of course it will need considerable experience before you can succeed in doing this perfectly, but patience and perseverance will ultimately accomplish the desired end. There are two matters of importance to be borne in mind in making these backgrounds--first, do not have any small, hard pieces of crayon on the cotton when you rub it on the paper, and second, use the fingers in as flat a position as possible, for if you do not have them flat down on the paper you are likely to make dark spots in the background.

FACE--LINE EFFECT.

[Ill.u.s.tration: LINE EFFECT FOR FACE.

_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton & Co._]

Commence on the hair with the crayon point No. 2, and put in all the shadows and half-shadows, carefully preserving the lines of direction, but avoid working over the lights more than necessary; then with the crayon point No. 1 strengthen all the shadows about the eyebrows, the eyes, the mouth, the chin and the ears. Next put the lines in the face.

The following ill.u.s.tration shows the lines before they are rubbed. It will be well to remember that only two sets of lines are used in the face, as shown in the ill.u.s.tration, and the same number in the dress, while there are three sets required in the background. The lines in the face should be a little closer than those in the background, while those in the dress are about the same as those in the background.

In the effect of the lines in the face lie the chief merit and beauty of this method of crayon work. When properly drawn, the lines represent and give the grain of the flesh in a very beautiful broken effect. They are drawn so as to leave s.p.a.ces shaped like diamonds, but in the finis.h.i.+ng should be so treated as to lose their regularity, and to have the effect of "broken diamonds." If you will examine the back of the wrist joint when your hand is bent slightly backward, you will see more clearly what is meant by the term "broken diamonds" in the slight ridges which show the grain of the flesh. Begin with the forehead, using the crayon point No. 1, and put in one set of lines straight across, but curving downwards as the forehead commences to round off towards the hair at the sides; then one more set of lines in the direction that will produce the diamond s.p.a.ces, continuing these two sets of lines throughout the face. These lines intersecting at the proper angles will indicate the grain of the flesh, if the line of direction be carefully followed. Remembering that the face is not a flat surface, make the lines darker in the shadows and lighter as they approach the lights. The high lights on the forehead, the nose, the highest point of the chin, and around the mouth, should, however, have no lines over them.

Having put in these lines take a small handful of cotton, and rub the hair and face over both the high lights and shadows, the motion following the line of direction; that is, being straight across the forehead, curving towards the hair at the sides, and circular on the cheeks. Care should be exercised not to rub too hard, it being a common fault of the beginner to rub the paper too much, and produce a dirty effect. The lines should be merely rubbed until they are somewhat blurred and indistinct. Remember that the crayon portrait is made on the surface of the paper, and not rubbed into it. After it has thus been treated with the cotton, go over the shadows with the crayon point No. 1, and rub again with the cotton.

The face of the crayon will now be about three shades darker in the lights than it should be when finished, and not quite dark enough in the shadows. Finish it with the No. 0 crayon and nigrivorine eraser, using the latter wherever a lighter effect is required; also break up the regularity of the diamond s.p.a.ces, and whenever a line shows too prominently subdue it with the eraser.

If you would succeed in making good crayon portraits, it will be necessary for you to cultivate a light touch with the crayon in finis.h.i.+ng.

The eraser is one of the princ.i.p.al instruments employed in making crayon portraits, and is used the same as if it were a crayon pencil, that is, on that principle, the difference being that you make white lines with it instead of black ones. Keep the eraser to a sharp point in the following manner: take a piece of emery paper about three inches square, and place it in the left hand between the index and second fingers, holding the fingers about half an inch apart, and bending the paper to fit between them; then rub the eraser in the crease thus formed, holding it at an acute angle. Sometimes it is necessary to sharpen the eraser with a knife or a pair of scissors before rubbing it on the emery paper. In working with the eraser on the crayon paper do not rub hard enough to remove all the crayon from the surface of the paper, except in producing the high lights and the white of drapery.

Notice in particular in finis.h.i.+ng the hair that where it touches the forehead there are no lines, as the light and shade should blend together so nicely as to leave no decided line between them.

DRESS--LINE EFFECT.

[Ill.u.s.tration: LINE EFFECT FOR DRESS.

_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton & Co._]

The above ill.u.s.tration represents the effect of the lines in the dress.