203. By this time you should have learned to properly apply the lead in order to remove blemishes, and also should have a fairly good idea of the general blending as explained in the preceding chapter. Modeling, however, deals with principles differing entirely from blending. Modeling involves the rounding, as well as to some extent shaping, of the features, thus giving softness, overcoming harshness, and at the same time retaining the character of the individual. The character of the subject is shown not alone by the lines and wrinkles of the face, but also by the little prominences or elevations, and by the forms and shapes of the different features.

204. The shape of the forehead is of vital importance in expressing character. The location of the high-lights, which latter were secured by the photographer in making the negative, must be retained, but if the face has been falsely lighted it will be necessary to alter the location of the prominences or high-lights. The forehead denotes the character of the man. Some foreheads are low and receding; some are high and straight, while others are broad.

205. In a front view of the face in Plain Lighting there are usually four prominences or elevations in the forehead (See Illustration No. 11, a, b, c d). A, being nearest the source of light, is the strongest high-light; b comes next in strength, then c and d. In some faces the lower highlight b will be stronger than the upper high-light a. In this class of subjects the forehead recedes very abruptly and the light strikes the lower prominences stronger than

the upper ones. Some faces have no such prominences at all. These usually are persons lacking in intellectuality, and in order to strengthen the character in their portrait it is often advisable to build up these four prominences, even if only slightly, so as to represent a stronger character of the individual.

206. The first work on the forehead should be the removal of imperfections in the strongly lighted elevations. In the subjects illustrating this lesson, a is this high-light. After removing the blemishes and the most transparent spots, proceed with longer strokes to bring together these imperfections. Then gradually blend and soften the whole high-light. You should work from the highest point on this elevation down into the little half-tone shadows which suround it, and also work back toward the hair, the stroke gradually becoming lighter as you leave the center of the prominence. Work only half way into the half-tone toward the next highest light, then stop. Now start to remove the imperfections in high-light b, and then blend down from a, as far as you worked in b. When this is completed carry out the same idea in modeling c and d; then, with long general strokes, bring all of the work together, but by no means destroy the delicate half-tones which appear between the four high-lights.

207. All of the gradation which is in the negative must be retained. In blending into the shadow and on the edge of the forehead where it merges into the hair, the light ends quite abruptly. Be very careful not to destroy the depth of the shadow; simply soften the edge of the forehead to complete its curve. When you have completed the modeling of the forehead, sit back in your chair and take a general view of what you have done, and if you observe any light patches or mottled effects, build them up and connect them with their relative tones. A few strokes of the pencil may be all that is required to produce a natural, even texture.

208. There should be no abruptness between high-

lights and shadows. With long general strokes you may easily blend such portions.