426. For the illustrations used in this chapter we have selected a front, also a profile, view of a pretty subject, possessing good lines and a good figure, but for special use in this instruction the lightings and positions given are such that the lines appear quite angular. The cords of the neck are strained, giving the appearance of a very thin neck, which will require a considerable amount of work to build it up to its proper form. All this can be done, however, without any change of the likeness whatever.

427. In Illustration No. 24, Figs. 1 and 2, we present an unretouched reproduction from the negatives. In proceeding with the retouching and modeling of these negatives, we begin by doing whatever etching is necessary. Owing to the straight lines (cords of the neck) the reducing paste cannot be used, and the etching knife must be employed. The high-lights on the cords of the neck are first shaved down, bringing them down in strength equal to the tones to which the neck is to be built up. With this accomplished, we next observe that the lines of the neck are quite angular, especially on the shadow side of the face. The straight lines must, therefore, be slightly curved at the shoulders, and the background, being white, the curving is done by scraping the film with the etcher, reducing the density of the tone of the neck. With this done, then, with the etching knife, build on a little more to the shadow shoulder. This you do by scraping the background to the depth of the shadow in the cheek, curving gracefully and nicely joining the shoulder and neck.

428. Illustration No. 25, Figs. 1 and 2 show the results of the etching knife. It would be advisable for the student, until he becomes proficient, to first make proof-prints from his negative before any work is applied to the plate. By having these prints before him he will have at all times a comparison for his results.

429. With the first etching all done, the plate is next prepared for retouching by applying the retouching dope over the entire surface of the face and neck, and then, beginning at the highest point of light, which would be the forehead, start retouching and modeling - the face first - frequently comparing your work produced with the proof made from the negative before retouching.

430. In Fig. No. 1 you will observe the subject is very round-faced, with no sunken portions, thus requiring only a minimum amount of work to be applied. To avoid overworking any particular portion, you should do very little more than remove the blemishes, for when they are removed a few long strokes of the pencil models the cheek perfectly.

431. On the profile view, Illustration No. 25, Fig. 2, you will observe a few scattering fine hairs above the ear. As they are quite conspicuous we have removed them, as will be seen in Illustration No. 26, Fig. 2. In the front view, Illustration No. 25, Fig. 1, these hairs are only slightly visible and do not intrude whatever. Observe the left jaw in the front view, on the high-light side. It appears quite square, and, therefore, should be curved. This we did by penciling with a soft BB lead. The line running alongside of the nose in both profile and front views, as you will observe, is quite strong, and we therefore toned it down, subduing it, but not entirely eliminating it. This was done by penciling with the line of shadow, using a BB lead. When working negatives of this kind it is advisable to make proof-prints at this stage of the work, before proceeding further, that you may have proofs of the work already done for comparison.