403. Adding Hair On Bald Spots

Adding Hair On Bald Spots. Where the skin is bare, some hair should be etched on, using the point of the etcher. Do not make the lines too harsh, however. They must be soft, and give every appearance of being perfectly natural hair. A careful study of the hair on other portions of the head will give you an idea of the proper curves and waves, which you must follow to secure the best effects. As with the hair, so also with etching on other portions. You should not strive to produce final results with the first stroke; continued work with the etcher will eventually produce the desired effect. After some practice you will learn exactly how to handle this feature. You cannot expect to secure perfect results at the first attempt.

404. Removing High-Lights On Hair

Removing High-Lights On Hair. To remove high-lights on hair the stroke must be made in the same direction as that in which the hair lies. In fact, you should strive to produce the effect of hair in these high-lights, in the reduction of which the point of the etcher will be found the most practicable. This portion of the hair should only be reduced sufficiently to match the tone of the surrounding hairs, for the hair is in the highest key of light and must be kept so.

405. Removing High-Lights On Under Lip

Removing High-Lights On Under Lip. No difficulty should be experienced in reducing the high-light on the under lip, if you follow carefully the instructions given in the lesson. The stroke of the etcher should be made crossways of the lips, and not horizontally. This high-light must be reduced only sufficient to match the surrounding tint. It is a false light and should not be left in a key the least bit higher than the balance of the lip. The point of the blade must not be used for this purpose. The film must be shaved gradually so as to blend with the surrounding tones, and this can only be successfully accomplished with the broad part of the blade of the etcher.

406. Shaping Noses

Shaping Noses. To shape a nose properly you must have an idea of the result desired. Do not attempt to make any alterations before knowing exactly what you want to do. This can best be determined by making proof-prints from the negative. Before applying the etcher outline the nose on the proof, and use this as your guide. Carefully follow the directions given in the lesson, and whenever it is necessary to remove any portion of a high-light, do it with extreme care and proceed slowly, never attempting to secure a completed result with your first efforts. Both the pencil and etcher may need to be employed, but only the most important alterations should be attempted by the beginner. Continual practice and experience will make you more expert and will enable you to procure practically any modification which may be necessary. You should be a careful observer of the appearance of the features in all negatives, especially those which are practically perfect. These will serve well as your models, and if you are enthusiastic and ambitious to produce the best of results, you will cultivate a faculty of observation of all these important considerations.