50 Shades Darker Ebook

[Tressa Sibel]

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In issuing this second treatise on Crayon Portraiture,Liquid Water Colors and French Crystals, for the use ofphotographers and amateur artists, I do so with the hopeand assurance that all the requirements in the way of instructionfor making crayon portraits on photographic enlargementsand for finishing photographs in color will befully met. To these I have added complete instructionsfor free-hand crayons.

This book embodies the results of a studio experience oftwenty-four years spent in practical work, in teaching, andin overcoming the everyday difficulties encountered, notalone in my own work, but in that of my pupils as well.Hence the book has been prepared with special reference tothe needs of the student. It presents a brief course of precepts,and requires on the part of the pupil only perseverancein order that he may achieve excellence. The mechanicalprinciples are few, and have been laid down in afew words; and, as nearly all students have felt, in theearlier period of their art work, the necessity of some generalrules to guide them in the composition and arrangement[Pg x]of color, I have given, without entering into anyprofound discussion of the subject, a few of its practicalprecepts, which, it is hoped, will prove helpful.

While this book does not treat of art in a very broadway, yet I am convinced that those who follow its teachingswill, through the work they accomplish, be soon led to ahigher appreciation of art. Although this kind of workdoes not create, yet who will say that it will not have accomplishedmuch if it shall prove to be the first step thatshall lead some student to devote his or her life to thesacred calling of art?

To many who know nothing about the art of crayonportraiture, the mastery of it not only seems very difficult,but almost unattainable. In fact, any work of art ofwhatever description, which in its execution is beyond theknowledge or comprehension of the spectator, is to hima thing of almost supernatural character. Of course, this ismore decided when the subject portrayed carries ourthoughts beyond the realms of visible things.

But the making of crayon portraits is not within thereach alone of the trained artist who follows it as a profession.I claim that any one who can learn to write canlearn to draw, and that any one who can learn to draw canlearn to make crayon portraits. Making them over a[Pg 16]photograph, that is, an enlargement, is a comparativelysimple matter, as it does not require as much knowledge ofdrawing as do free-hand crayons. But you must not supposethat, because the photographic enlargement gives youthe drawing in line and an indistinct impression of theform in light and shade, you are not required to draw atall in making a crayon portrait over such an enlargement.Some knowledge of drawing is necessary, though not aperfect knowledge.

Many people err in supposing that only the exceptionallyskilled can produce the human features in life-like formupon the crayon paper. While recognizing great differencesin natural aptitude for drawing in different persons,just as those who use the pen differ widely in their skill,some being able to write with almost mechanical perfectionof form, I still hold that any one who is able to draw atall can succeed in producing creditable crayon portraits; andthe lack of great skill as a draughtsman, should neitherdiscourage a student nor debar him from undertaking tomake crayon portraits (over enlargements, at least), eitheras an amateur or professional. To make a crayon fromlife undoubtably requires considerable talent and some educationas an artist; but photography, in recent times, hasmade such advances from the old fashioned daguerreotypeto the dry plate process and instantaneous exposure, and[Pg 17]such developments have recently been made in the fieldof enlargements and in photographic papers, that it is nowpossible for anyone, who will carefully follow the plaininstructions given in the following pages, to make a goodcrayon portrait by the aid of the different kinds of enlargements.These place in his hands a perfect reproduction ofwhat he wishes to make; and care and close attention todetails will insure the rest.

The student, however, must have courage. I tell mypupils not to be afraid to work freely; that if they spoiltheir work beyond their ability to redeem it, I can alwaysfix it up and restore it for them; and that they should goahead confidently. The reader may say that he has noteacher to help him out of his difficulty; but he mustremember that he has the photographic enlargement as asure guide, and that whenever he fears he is losing the outline,he can see at once what he is doing, by holding theenlargement against the light with its back towards him.My experience as a teacher has shown me that pupils, as arule, are timid, especially that class which works mostly onenlargements, resulting from the fear of losing the outlineand from lack of a thorough knowledge of drawing. Iespecially urge the necessity for boldness and freedom inexecution. As an expert in chirography can read characterin handwriting, so the artist's public will judge him[Pg 18]from his work. If he is, in fact, weak and timid, thesetraits will find expression in what he puts on paper. Letcourage, then, be an important part of your equipment, ifyou would succeed in doing good crayon work.

Free-hand crayons are made on Steinbach and other crayonpapers, without any photograph as a basis. Silver enlargementsare made on paper coated with a solution of chlorideof silver, which the action of the light reduces to salts ofsilver. This is the oldest form of photography, and hasbeen used since its introduction by Scheele in 1778.Silver enlargements are made by the aid of the sun (andare then called solar enlargements) or they can be madewith the electric light.

Platinum enlargements are a recent advance in photographicprinting with iron salts, the process which hasbeen worked out and patented by W. Willis, Jr., being adevelopment of such printing. Its principle is that asolution of ferrous oxalate in neutral potassium oxalateis effective as a developer. A paper is coated with a solutionof ferric oxalate and platinum salts and then exposedbehind a negative. It is then floated in a hot solution[Pg 20]of neutral potassium oxalate, when the image isformed.

This process was first introduced by Mr. Willis in 1874,and he has since made improvements. He claims that theplatinotype paper does not contain any animal sizing. Theearly experiments convinced him that the paper uponwhich the image was to be printed would prove an importantfactor, as all photographic paper contained animalsizing, which was found to be antagonistic to platinumsalts. The action of platinum salts upon a paper containinganimal sizing gave it a tint which no amount of acidwashing could remove. For the past nine years Mr.Willis has had manufactured for his special use a Steinbachpaper, free from the animal sizing, and he also uses acold developer, thereby causing the paper to retain itsoriginal elasticity.

The chief points of difference between bromide enlargementsand silver or platinum enlargements are that, in theformer, we have the sensitive compound of silver suspendedin a vehicle of gelatin, and, in the latter, a thin coating ofan aqueous solution of the sensitive salts. In the formerprocess, the image is not shown until the paper has beendeveloped in the bath, while in the latter, the image isshown upon the paper when it is exposed to the light; sothat, in the latter, the image or picture has only to be fixed[Pg 21]or made permanent, while in the former, it is developed,then fixed. The gelatin bromide paper is coated with asolution of gelatin, bromide of potassium and nitrate ofsilver, developed with a solution of oxalate of potash,protosulphate of iron, sulphuric acid and bromide of potassiumand water, and fixed with hyposulphate of soda. Itis manufactured in America by E. and H. T. Anthony &Co. and by the Eastman Dry Plate Company.

Experience has taught me that we cannot be too particularin giving directions as to the materials for our work, andtherefore I have carefully included in the above list everythingnecessary to thoroughly equip the student. While themagnifying glass mentioned above is not an actual necessity,[Pg 24]still a good one will be found very useful, as it willoften show details in the photograph which would not bediscovered by the naked eye. My male readers may atfirst object to so feminine an article as an apron, but it willbe found thoroughly useful, and I am sure they will neverconsent to abandon it after they have once become accustomedto wearing it.

I will now explain the specific use and nature of thesematerials, reserving the various kinds of photographic enlargementsand their special qualities and advantages, fortreatment under their different manipulations.

The easel should be set so that the light strikes thepicture at an angle of 90 deg., and, when working from aside light, it will very often be necessary to darken thelower part of the window to accomplish this result.

The mahl stick is held in the left hand, and is used as arest for the right arm in working. Though a trifle awkwardand difficult at first, its use must, nevertheless, belearned, as the hand will not be steady without it, especiallyin portrait work.

The square black Conte crayons are for filling in wherethere are large dark places. The No. 1 is used with theblack Conte crayon sauce in making the crayon sauce (to beapplied with the ends of the fingers) to produce a broadeffect and to make the stipple effect on the paper after ithas been rubbed with pumice stone.

The crayon points, Nos. 1, 2 and 3, are used in makingoutlines and also in putting in the lines to produce the line[Pg 26]effect. In general, they are to be used in free-handcrayons and on silver and platinum enlargements.

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