the practice of leaving the background white,
as this will only give a hard, stiff appearance. Clean off the outside
edges of the background with a clean piece of cotton and the pumice
stone.

FOURTH METHOD OF MAKING THE BACKGROUND--STIPPLE EFFECT.

Lay a piece of manilla paper on the table about twelve inches larger on
each edge than your strainer, placing the strainer on it face up; rub a
handful of cotton batting first in the crayon sauce and then on the
manilla paper to remove any foreign substance. Then apply the cotton
with a circular motion to the crayon paper to make the background
desired. Next sprinkle the pulverized pumice stone over the entire
background, and go over this with the fingers in a circular movement,
using them flat from the second joint to the ends; then lift the
strainer up, and, resting it on the edge, jar off all the pumice stone,
and when this is done, lay it down again and rub it off with a clean
piece of cotton. Now rub the fingers in the crayon sauce, keeping them
flat so that it will adhere evenly to them, and go over the background
lightly as when rubbing in the pumice stone and you will produce a nice
stipple effect. Finally, place the strainer on the easel, and finish
according to the directions given for finishing crayons made on bromide
enlargements.

Of course it will need considerable experience before you can succeed
in doing this perfectly, but patience and perseverance will ultimately
accomplish the desired end. There are two matters of importance to be
borne in mind in making these backgrounds--first, do not have any
small, hard pieces of crayon on the cotton when you rub it on the
paper, and second, use the fingers in as flat a position as possible,
for if you do not have them flat down on the paper you are likely to
make dark spots in the background.

FACE--LINE EFFECT.

[Illustration: LINE EFFECT FOR FACE.

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

Commence on the hair with the crayon point No. 2, and put in all the
shadows and half-shadows, carefully preserving the lines of direction,
but avoid working over the lights more than necessary; then with the
crayon point No. 1 strengthen all the shadows about the eyebrows, the
eyes, the mouth, the chin and the ears. Next put the lines in the face.
The following illustration shows the lines before they are rubbed. It
will be well to remember that only two sets of lines are