nd it should not be necessary to strengthen it in the
shadows by using the No. 0 crayon. You are to cut up or divide the
portrait into small black and white spots, but do not take out white
spots with the No. 0 crayon that are larger than the white spots
desired in the stipple effect; these light places must be cut into
smaller light spots. If you should take out these white spots (and this
is an error you must be very careful to avoid), you would produce an
effect of large dark and white spots that would be entirely wrong, the
real process being to divide large white and dark spots into smaller
ones of the same color.

This stipple effect should be worked all over the face with the
exception of the highest lights, and even these will very often need to
be worked over except at the single points of the very highest lights.
In this work you now have an opportunity to demonstrate the theory of
contrast. Sometimes the enlargement is too dark in the shadows, and
although you require to have them lighter you have already removed all
the crayon from the surface, and it still remains too dark. The crayon
pencil is many shades darker and blacker than the shadows, yet you can
by its use make them lighter by putting in the stipple effect, as the
dark touches of the pencil in their contrast with the shadow color
under them cause them to appear lighter. This is a very essential
principle to remember in crayon portrait work: that the effect of dark
against light is to make the light appear lighter, and the dark darker.
After the face and hair are completed as above, then finish the
clothes with the peerless stump, eraser and fingers. If there are any
very dark strong shadows--for instance, under the collar or around the
neck--put them in with the velours crayon and subdue them with the
fingers. When at work on the clothes at the bottom of the portrait do
not finish straight across, but in a circular way. Next taking up the
background you will discover that there are some large patches of light
and shade that must be changed and made the required color to
correspond with the adjoining surface; lean back as far as possible in
your chair, and join these places together with the pencil and eraser;
then in the same position finish the face by removing any light or dark
places, strengthening the eyes, nose, mouth, and any point of the
likeness requiring a final touch. Remove with the point of your knife
any small black spots such as somet