Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1885-12-20

should be faken ont with bread rolled to q
point, aD d should be clear and distinct.
Beware Sof puttiDg ntothe hair too much
detail. The deepest shadows and the
lights should always be kept simple,
and the DETAIL confined to the halftints.
The animated expression is put into the
eyes 10y dark touches in the pupil and I'M
der the lids, while sharp lights are accent.
cd in the iris and on the eyebsll. The
form of the eyelid is also of Importance,
and should be carefully studied. The shape
of the nostril he's much to do with the ex-
preston of the face. If Its outer line is
elevated. it will give q bright and ANNA
ted appearance; if it be depressed, the re-
verse will be the result. The most expires.
ave feature is of course, the mouth. Ii
the lines be curved outward and upward, a
smiling expression is produced. In q sad
face the corners of the mouths drop and
the lines grow straight. Soften the hair
hair where il touches the face. Do not be
afraid Of losing the point where the hair
leaves of and the forehead begins. 1t
needs to be lost.
In drawing q head draw it exactly as
YOU see 1t, emphasizing its salient points,
no matter how ugly it may appear. The
expression comes last Of all, and with 1t
the beauty. In the attempts TO make 1t
pretty at frat the drawing is weakened and
the character lost.
Never make the background of the same
value as the head. If the general effect OF
the heap is light, the background should
be dark: but all violent contrast should be
avoided. Put in the ground with charcoal
only, at first using parallel lines in q d.
rectiou, then with a stump rub these lines
into one tone, leaving only q bare sugges.
ton of them. Put 10 this o q only around
the shoulders and the lower part OF the
head, leaving the upper part Of the paper
bare or nearly so. Work slowly, adding
more charcoal as it seems desirable until
the right tome is obtained. Then uSe the
crayon point in the same way as the char
cool, putting in crossed lines, and rubbing
them together with the stump until q rams
parent effect is produced, which will give
atmosphere and relieve the head. Psrtlcu-
larly avoid landscape or dr~aperyeffects be
hind O simple portrait head. Everything
should be kept subordinate to the face.
Mr.. Fowler book also contains some usetul
hints about landscape drawing, but the stu
dent cannot expect to do much with char
coal in landscape until he has studied Tor
come time from the human figure, unless
he has for a teacher an artist Of experience.
The pantograph will be found very uae-
full for enlarging the outlines of q small
picture, although free-hsnd sketchiDg is to
be recommended. There is also q system
of squaring off O picture, for enlargement,
which is used to great extent. II consists
in dividing the picture and the canvas or
paper into an equal number OF squares,
and drawing whatever is seen in each
square of the picture upon the correspon-
ding square Of the picture or canvas.
Too much cannot be said against the rep.
rehensible custom of working ersyon por-
traits upon what are known as solar
prints." These are really nothing more
nor less than a very faint photograph print
ed on drswing,paper. The dsbblsr who
works for to-day only may find MS excuse
for using them in that be lie able TO achieve
disappearing results with very little labor
and less skill. The artist who works for
ali time will avoid them, as pictures 80
made will invariably fade more or less
when exposed to the light, or turn O redlsh
tint, and after a few years become totally
worthless. A solar print may however,
be made to serve a purpose, when the work
er is not sure Of ais drawing, by backing
the back and tracing with a stylus, thus
securing the ontline upon his paper, which
is the only use to which it may be properly
applied in charcoal or crayon portrRiture.