t the photographic image is on
this surface also, and not on the paper itself; therefore, under the
image and the gelatin you have the pure white paper. I call attention
to this in order that you may work with a better comprehension of the
materials you are using.

You now have four surfaces. First, the muslin cloth of the strainer;
second, the starch; third, the white paper; fourth, the gelatin.

Knowing that the gelatin has a hard surface, you are prepared to learn
that the crayon will come off from the bromide much more easily than
from the other kinds of paper. These had but three surfaces, while the
bromide has a fourth--a very hard one--between the crayon and the
paper, and on account of its hardness it will need different treatment
in its manipulation. Therefore you use the fingers in applying the
crayon sauce, and, when it is necessary to make a place light, you do
so with the cotton, chamois or eraser. Should you find it necessary to
make a place white where it is dark, you can remove the photograph
entirely, as this is on the gelatin, scraping it off down to the white
paper with a sharp knife.

Resuming the process of finishing, place the enlargement on the easel
and put in the cloud effect with the large eraser, then lay it on the
table again, and clean it off about four inches from the edge all
around with pumice stone and a fresh piece of cotton where you have
rubbed with the eraser, and blend the background into this four inch
space. Return the enlargement to the easel again, and with the broad
eraser clean up the lights throughout, and with the cotton and pumice
stone blend them into the shadows; then with the peerless stump, crayon
sauce and fingers strengthen the larger shadows, using the nigrivorine
eraser when necessary to clean up the lights, and the tortillon stump
for the work in the smaller shadows, if it is required to make them
darker. Now with the No. 0 crayon finish the face by completing the
stipple effect in the patches of light and shade. You will have a good
guide in the background for finishing and giving the stipple effect, as
there you will have this stipple effect quite perfect, especially in
the light places. This finishing with the No. 0 crayon is the nicest
part of the work, and when doing it you must keep in mind that you are
putting in the stipple effect, and that alone; that is, the portrait at
this stage is supposed to be very nearly right in light and shade and
expression, a