Crayon Portraiture Part 7

MOUNTING FRENCH CRYSTALS.

The gla.s.s for mounting, whether flat or convex, should be the same size as the picture. It should be dipped in water and permitted to drain off, but do not dry it; pour a little of the compound on the side against which the photograph is to be placed--the hollow side, if the gla.s.s is convex--let it drain off and lay the picture face down upon it. With the thumb and finger commence at the centre of the photograph, smoothing it down close to the gla.s.s, forcing all the air bubbles out to the edges, thus continuing until the picture is entirely smoothed out, and at every point in actual contact with the gla.s.s. During this process hold the gla.s.s at an angle, so that you can see if there are any air bubbles or glistening places in it by examining its face occasionally; and always let a little of the compound get on the back of the photograph, as it allows the fingers to glide over it more easily and lessens the chance of tearing it. Now take a second gla.s.s the same size as the first, and having thoroughly cleaned it, fasten it to the back of the other by small strips of gummed paper. Then place a piece of card-board of the same size on the back of the two gla.s.ses and fasten the three together also with small strips of gummed paper; finally securing the whole firmly together by binding it with some large strips, and your picture is ready to frame. In case you do not care to frame it, cut out a piece of some dark fancy paper, a quarter of an inch on each edge larger than the picture, and fasten it, dark side out, on the back, allowing the quarter of an inch to lap over and be pasted on the face, after which straighten the edges with a ruler and sharp knife.

FINISHING PHOTOGRAPHS IN INDIA INK.

The principles that have been given in regard to finishing photographs with lines, apply also to finishing with India ink--with the exception that in the manipulation of the ink it must be remembered that it cannot be taken out; therefore, you must commence to finish the photograph gradually, and produce the proper strength by repeatedly working over it. The old method of making India ink portraits was to have a print on "plain" paper--a kind without alb.u.men on its surface.

The great disadvantage of "plain" paper is that the lights and shadows on it are not strong, and therefore it takes too much work to finish the picture.

The following method (which is very simple and can be used in work on alb.u.men paper, provided you have treated it by rubbing pumice stone over its surface with your fingers), adapts it to India ink. Of course the pumice stone treatment destroys the alb.u.men on the surface, causing it to have a dull appearance, but after the picture has been finished its l.u.s.tre can be restored by the use of a not too warm burnisher.

In finishing the photograph commence on the hair by washing it all over (with the exception of the highest light) with a weak solution of the ink, using the brush in the same direction that the hair goes; after this has dried, indicate the half-shadow with a little stronger wash, and after drying it again put in the deeper shadows, then the eyebrows, eyes and beard, if the subject has one.

Faces are finished in India ink on the line principle,[D] which shows the grain of the flesh. Commence on the forehead with a very weak solution, and then continue it all over the face, repeatedly working and cross hatching with lines until the face is dark enough; then strengthen the shadows under the eyes, nose, mouth and chin. After the face is completed put in the clothes. This you do by washing them over with two or three solutions of the ink, and then producing the line effect as in work on crayon portraits, explained on page 76, the difference in the nature of the material used being always borne in mind. After the picture is otherwise completed, you can brighten up the eyes and some of the strongest shadows with a solution of gum arabic and water.

FOOTNOTES:

[Footnote D: See pages 57 and 72.]

CONCLUSION.

While it is thought that all essential instructions on the topics treated of have been given in the foregoing pages, and that if faithfully followed they will lead the pupil to attain satisfactory results, it is hoped that my readers who have accompanied me thus far will not be content to continue to use a photograph as the basis of their work, but will advance to the pursuit of art in a broader and more scientific manner. As a step in this direction the study of form, and light and shade, by drawing from the cast should be taken up; and to this work the directions as to light and shade given in the foregoing pages fully apply, that requiring the object to be placed in such a position that the light will strike it at an angle of ninety degrees being always borne in mind.

The student will do well to gain all he can from the published works of the leaders in the profession, whose writings, both theoretical and practical, are invaluable. Three essays by John Burnet I can very heartily recommend. They are "Practical Hints on Light and Shade,"

"Practical Hints on Composition," and "The Education of the Eye." These are published in a single volume, which is ill.u.s.trated with examples from the great masters of the Italian, Flemish and Dutch schools, and should be in the hands of every amateur. They will all repay perusal and study until their principles are mastered. An English edition of these books is published by James Carpenter, London, and in this country they have been reproduced by Edward L. Wilson, editor of the _Philadelphia Photographer_. Another book which abounds in valuable and practical information for the amateur and can be highly commended, is "Art Recreations, a Guide to Decorative Art," by Marion Kemble, published by S. W. Tilton & Co., Boston; also J. Bacon's "Theory of Coloring," issued by Geo. Rowney & Co., England.

Those who are disposed to treat disdainfully the work of finishing photographs in crayon and color as not demanding truly artistic qualities, should not forget that success here has still a real value in awakening in many who undertake it a feeling for art of a higher kind, and in developing a natural talent which otherwise might have been undiscovered. Many an artist now looks back with pleasure and grat.i.tude to this sort of work, in which he received the first impetus toward higher effort.

In answer to the a.s.sertion which is sometimes made that transparent water colors are not permanent, I claim that in the sense in which the word is ordinarily used in connection with photography they may properly be called so. In this sense the lasting qualities which characterize the materials used by the old masters are not looked for, but where photographs have been thus colored, finished in the form of French crystals, and properly sealed from the atmosphere, they are practically permanent. I have some in my possession that were made years ago, and they are as bright and fresh to-day as when first colored. It can be truly said that photographs colored in this way make very beautiful and pleasing pictures, obtainable with but little work and expense, and having practical permanency of color.

As a final word to those who intend to follow art as a profession, I urge the earnest study and mastery of drawing at the outset as the foundation of all art; then take up work in body water colors, and when the theory of coloring is fully understood, do not neglect the careful reading of books of acknowledged merit bearing on your work. The more notes you take in the course of your reading the more fully you will a.s.similate the author's thought, while, at the same time, you furnish the easiest means of rapid review. After all, your soundest basis for work will be your deep and continuing love for it, and your willingness to labor long and conscientiously to attain excellence. Do not imagine that the profession of an artist is that of an idler. On the contrary, of all occupations it is perhaps the most active, for one is constantly engaged, if not with art itself, at least with its materials.

Every artist will confess that were it not for the charm with which it rewards the votaries who follow it from love, the pursuit would be a painful one, such vigilant precaution does it require, such constant foresight, such calculation and preparation against possible difficulty on every hand; but the true artist, happy in the daily gain of knowledge which his experience brings him, and delighted with the gradual mastery of his work, as a rule lives along enjoyably, retaining more than most men the freshness of youth while he gains in power as he advances in years. So pleasant a fate as this for each of his readers is the closing wish of the author.