used in the
face, as shown in the illustration, and the same number in the dress,
while there are three sets required in the background. The lines in the
face should be a little closer than those in the background, while
those in the dress are about the same as those in the background.

In the effect of the lines in the face lie the chief merit and beauty
of this method of crayon work. When properly drawn, the lines represent
and give the grain of the flesh in a very beautiful broken effect. They
are drawn so as to leave spaces shaped like diamonds, but in the
finishing should be so treated as to lose their regularity, and to have
the effect of "broken diamonds." If you will examine the back of the
wrist joint when your hand is bent slightly backward, you will see more
clearly what is meant by the term "broken diamonds" in the slight
ridges which show the grain of the flesh. Begin with the forehead,
using the crayon point No. 1, and put in one set of lines straight
across, but curving downwards as the forehead commences to round off
towards the hair at the sides; then one more set of lines in the
direction that will produce the diamond spaces, continuing these two
sets of lines throughout the face. These lines intersecting at the
proper angles will indicate the grain of the flesh, if the line of
direction be carefully followed. Remembering that the face is not a
flat surface, make the lines darker in the shadows and lighter as they
approach the lights. The high lights on the forehead, the nose, the
highest point of the chin, and around the mouth, should, however, have
no lines over them.

Having put in these lines take a small handful of cotton, and rub the
hair and face over both the high lights and shadows, the motion
following the line of direction; that is, being straight across the
forehead, curving towards the hair at the sides, and circular on the
cheeks. Care should be exercised not to rub too hard, it being a common
fault of the beginner to rub the paper too much, and produce a dirty
effect. The lines should be merely rubbed until they are somewhat
blurred and indistinct. Remember that the crayon portrait is made on
the surface of the paper, and not rubbed into it. After it has thus
been treated with the cotton, go over the shadows with the crayon point
No. 1, and rub again with the cotton.

The face of the crayon will now be about three shades darker in the
lights than it should be when finished, and not q