at the grains or fibers of the wood run
crosswise. If we were to represent a straight board in crayon drawing,
we would draw straight lines running lengthwise of the board, unless it
should have some cross-grained places in it, as that is the way the
grain of the board would be. If we should take the same board and bend
it in the form of a circle, we would in order to represent the board in
that position, draw lines running in a circle to correspond with the
grain and position of the board. The idea to be impressed is, that when
we want to represent an object with crayon and that object is flat, we
draw straight lines to represent its surface; and when the object is
round or partly so, we draw curved lines, conforming them to the
surface of the object. Light and shade in nature have each their
different qualities. Light expresses form while shade obscures it;
consequently, in the light places of an object we will see its grain or
texture, and that grain or texture will gradually become obscured as it
enters the shadow until it is entirely lost in the deepest shadows.
This grain will not show in nature as decided where the strongest
lights are as it will in the half shadows; and, therefore, in the
crayon representation the grain effect should show more decided in the
half shadows. If your crayon is not true in this respect, it will
appear coarse and fail to please as a work of art on account of its
falsity to nature. The line effect is produced throughout the whole
picture, in the background, face and dress.

STIPPLE EFFECT

_On a photographic enlargement or a free-hand crayon after
the outline and masses of light and shade have been made
with the tortillon stump, as explained on page 55._

[Illustration: LINES TO PRODUCE THE STIPPLE EFFECT.

_From the Annual Encyclopedia. Copyrighted, 1891, by D. Appleton &
Co._]

When putting in a background with the pumice stone as described in the
fourth method on page 70, treat the whole surface of the paper with
pumice stone in order to raise the grain of the paper, but go over the
face lightly. Then place the strainer on which the portrait is mounted
on the easel, and put in the shadows with the tortillon stump,
producing the lights with the eraser; finish with the No. 0 crayon. But
instead of producing a diamond effect, as you did with the lines, you
now want to have a stipple effect, which is that of small black and
white spots; the paper producing the