250. Having modeled the forehead, your next step will be the modeling of the cheek. The prominence of the cheek-bone determines the outline of the cheek. Sometimes this prominence is very marked and objectionable, owing to the strong high-lights which are accentuated by the shadows. Often certain views of the face will give too much prominence to the cheek-bone. This intrusion upon the beauty of the face is very easily remedied by cutting off the too prominent curve of the bone.

251. The whole cheek can be made round and pleasing and the character still preserved by bringing the shadows up to their proper value with the high-lights. In doing this, less prominence is given the cheek-bone by having the contrast between the high-lights and shadows reduced; therefore, these shadows must be carefully blended with the highest lights.

252. In case of people who lead an out-door life and are exposed more or less to the weather, the cheeks are considerably darkened - tanned - and, therefore, must be retouched on all parts and the various high-lights blended together, otherwise the cheeks may present a hollow, thin appearance. Care must be exercised that you do not overdo the work, thus making the cheek appear puffed and bloated - all likeness being lost. First, it is advisable simply to smooth over the blemishes, and finally, sitting back from your work a trifle and viewing it from a greater distance,

to build up and model the portions which appear sunken, carefully connecting them with the highest lights. You cannot practice too much, as the more you practice the more freely you will be able to manipulate the pencil and, consequently, produce more even results.

253. Having a larger surface to cover on the cheeks than on any other portion of the face, the lead can be applied with a much freer and longer stroke, simply following the lines of the face. It is, therefore, advisable to work for some time on the cheek of your practice-plates, applying the lead lightly, yet effectively. Do not follow any particular stroke, but work promiscuously, only following the lines of the face. Do not intrude on any of the high-lights, but gently blend with them; evening up, as it were.

254. In cases where the HHH lead will not build up shadows sufficiently, try the HH or if necessary the BB, which is softer and gives up lead more freely. Great care must be exercised, however, not to apply this lead too heavily, as too much will adhere; therefore a very light stroke of the pencil must be used. Observe the figures on the left-hand side of Illustration No. 15. These illustrations show the modeling of the forehead and cheek. You will notice that we have softened every harsh line, yet all the likeness has been retained and the forehead and cheek are very nicely modeled. Compare the work that you are doing on your practice-plate with these illustrations, which will serve as your guide. If the result of your efforts is not satisfactory, make a proof from the negative at once, then erase the work by gently rubbing on more of the retouching fluid. At the same time this will prepare the plate for work again.

255. Now, make another attempt and when you have worked the plate to your satisfaction, or as best you can, make another proof and compare this with the former one.

256. It is always best first to fill in and smooth over the blotches and defects in the cheek; then, leaning back from the easel, observe that while you have smoothed over the blemishes, the cheek has quite a thin and sunken ap-

pearance. With light strokes of the pencil you can gradually build up and model the sunken-appearing portions and carefully connect them with the higher lights. In the accompanying illustration observe that the upper subject has a very round face, with no sunken portions. With such subjects the greatest care must be exercised that you do not overwork any particular portion, as very little more than removing the blemishes is necessary. When they are removed a few strokes of the pencil will generally model the cheek completely.