The principal difference between the appearance of free-hand crayons and those that are made over a photographic enlargement, is that in the former the shadows are lighter and more transparent. In the matter of feeling, however, the free-hand crayon is much more satisfactory to the artist for he knows it is all his own work, and that he has not depended on the photographic enlargement to help him make the portrait.

After the outline has been drawn, in making a free-hand crayon, the portrait is still not yet in the same state of advancement as a silver, platinum or bromide enlargement; for the reason that the latter not only has the outline, but also the faint impression in light and shade of the rest of the portrait. I will, therefore, in the next chapter, give instructions for filling in the free-hand crayon up to such a degree of light and shade as shall put it in the same condition as the enlargement. From that point on the same directions (to be subsequently given) for finishing the portrait will apply equally to both the free-hand crayons and the enlargements, except that the bromide is understood to require special treatment.

The frontispiece was made from a free-hand crayon which was executed on Steinbach crayon paper with a magic lantern outline. This shows the stipple effect in the face and drapery, and a broken line effect in the background. The student will notice the difference between this illustration and that facing page 81, which was made from a bromide crayon. In the bromide crayon the shadows are dark and strong, while in this they are lighter and more transparent.