Crayon Portraiture.

FREE-HAND CRAYON MADE ON STEINBACH CRAYON PAPER—STIPPLE EFFECT IN FACE, BROKEN LINE EFFECT IN BACKGROUND. BY J. A. BARHYDT.

CRAYON PORTRAITURE

Complete Instructions for Making Crayon
Portraits on Crayon Paper and on
Platinum, Silver and Bromide
Enlargements

ALSO DIRECTIONS FOR THE USE OF
TRANSPARENT LIQUID WATER COLORS
AND FOR MAKING
FRENCH CRYSTALS


BY
J. A. BARHYDT

Author of Article on Crayon Portraiture in
Appleton's Annual Cyclopedia, 1890.


Illustrated

Revised and Enlarged Edition


NEW YORK
THE BAKER & TAYLOR CO.
33-37 E. 17th Street, Union Square North

Copyright, 1886 and 1892
By J. A. BARHYDT

ROBERT DRUMMOND, PRINTER, NEW YORK

PREFACE.

In issuing this second treatise on Crayon Portraiture, Liquid Water Colors and French Crystals, for the use of photographers and amateur artists, I do so with the hope and assurance that all the requirements in the way of instruction for making crayon portraits on photographic enlargements and for finishing photographs in color will be fully met. To these I have added complete instructions for free-hand crayons.

This book embodies the results of a studio experience of twenty-four years spent in practical work, in teaching, and in overcoming the everyday difficulties encountered, not alone in my own work, but in that of my pupils as well. Hence the book has been prepared with special reference to the needs of the student. It presents a brief course of precepts, and requires on the part of the pupil only perseverance in order that he may achieve excellence. The mechanical principles are few, and have been laid down in a few words; and, as nearly all students have felt, in the earlier period of their art work, the necessity of some general rules to guide them in the composition and arrangement of color, I have given, without entering into any profound discussion of the subject, a few of its practical precepts, which, it is hoped, will prove helpful.

While this book does not treat of art in a very broad way, yet I am convinced that those who follow its teachings will, through the work they accomplish, be soon led to a higher appreciation of art. Although this kind of work does not create, yet who will say that it will not have accomplished much if it shall prove to be the first step that shall lead some student to devote his or her life to the sacred calling of art?

It has been said that artists rarely, if ever, write on art, because they have the impression that the public is too ill-informed to understand them—that is, to understand their ordinarily somewhat technical method of expression. If, therefore, in the following pages I may sometimes seem to take more space and time for an explanation than appears necessary, I hope the student will overlook it, as I seek to be thoroughly understood.

My hope with reference to this work is that it may prove of actual value to the earnest student in helping him reach the excellence which is the common aim of all true artists.

J. A. Barhydt.

CONTENTS.

•  PAGE.
• Preface ix
• Crayon Portraiture 15
• Photographic Enlargements 19
• Crayon Materials 22
• The Specific Use of Crayon Materials 25
• The Strainer 30
• Mounting Crayon Paper and Platinum and Silver Enlargements 32
• Mounting Bromide Enlargements 37
• Outlines—Negative Outline 39
• Magic Lantern Outline 42
• Transfer Outline 46
• The Metroscope 47
• The Pantograph 49
• Crayon Effects—The Four Methods of making Backgrounds 51
• Free-hand Crayons and those made from Photographic Enlargements 53
• Filling in the Free-hand Crayon 55
• Line Effect