335. The general method of procedure in removing blemishes, blending and modeling of Rembrandt Lightings, as well as all Shadow Lightings, is exactly the same as that given in the preceding lessons for the retouching of Plain Lightings. It is important, however, that you begin to work at the highest points of light, or at the highest point of the curve of whatever particular feature you are modeling. This method of procedure is necessary for the beginner, as the stroke is much heavier when starting to work. After having worked on the denser portions, however, better control will be gained of the pencil and a much lighter touch will result. Therefore, you can gradually work down into the shadows and avoid the risk of applying too much lead on the negative. Too heavy a stroke in the shadows would build them up to too high a key and thus flatten the portrait.

336. Always follow a regular system for your work. Begin at the highest point of light, which is usually the forehead, and work downward. After removing the blemishes, in the strongest high-light, carefully blend the edges surrounding them so that this light does not end abruptly where it blends into the shadow. Do not carry this blending too far, however, as it would spread the high-light and flatten this portion of the face. Bear in mind that catch-lights (high-lights) must be round and not flat. To hold them thus, they must be rounded into the shadows and not worked on a level plane; to work on an even plane would give you flatness, which you must avoid.

337. Not nearly as much penciling will be required to properly model the shadows as is required for accomplishing the same results in the high-lights; yet for the beginner it is far more difficult to work on the shadow portions, owing to the necessity of using a very light touch, and also because the pencil stroke will show if not applied with extreme care.

338. The modeling around the nose, on Profile Rembrandt Lightings especially, must be done with the greatest of care, as it is a very easy matter to spread the high-light on the ridge of the nose so that it will run over onto the shadow side, thus greatly distorting and broadening this feature. When strengthening the high-light on the nose, or even straightening this member, work your line on the edge of the shadow side of the bridge; not too close to the shadow, but on the ridge, when the face is properly lighted. It is really the shadows you straighten and not the high-lights. Where the high-lights spread over the nose, of course, you build your line at the same point, but the division is not so apparent.

339. The high-light on the cheek must be very carefully modeled. Work from this high-light toward the nose, and then up to the eye, next down to the chin, and last over toward the ear. Very little work will be required on the average chin, yet this feature must not be slighted. After all portions of the face have been blended and modeled, the whole face should be blended - brought together - and this you do with long, general strokes.

340. A proof should be made, of course, before attempting to retouch the negative, in order that you may see in the positive form exactly what work is to be done. Then, when in doubt as to whether your stroke is correct, and whether you are producing the proper results, make another proof of the work you have done and compare with the first one.

341. In Profile and Shadow Lightings the head is generally turned a trifle from the angle of the figure, which is apt to cause wrinkles to be formed in the neck. These

must, of course, be practically eliminated by penciling in the lines, building them up to the surrounding surface. Should there be any strong high-lights on the top of these wrinkles, they will have to be removed with the etching knife. You should not retouch or build up to these highlights, as this would give a false rendering of the thickness of the neck.