LINE EFFECT FOR FACE. From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton & Co. 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 illustration 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 illustration, 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 spaces shaped like diamonds, but in the finishing 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 spaces, 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 spaces, 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 finishing.

The eraser is one of the principal 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 finishing 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.