are 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 albumen 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
albumen 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 albumen on the surface, causing
it to have a dull appearance, but after the picture has been finished
its lustre 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 b