209. Irregular High-Lights

Irregular High-Lights. Sometimes, on account of the shape of the forehead, or because of poor lighting, the high-lights may be broken and irregular. They must be united to strengthen the character and add simplicity and harmony to the general effect.

210. Producing Texture

Producing Texture. You must not lose sight of the importance of producing texture or skin effect. The actual grain of the skin of the forehead is most coarse near the center and above the eyebrows. It gradually becomes finer as the forehead recedes backward toward the hair; therefore, in the final work of modeling the stroke should be longest when working on the front of the forehead.

211. Blending Around The Eyebrows

Blending Around The Eyebrows. Avoid making any sharp lines on the upper edge of the eyebrow, and, as you approach the brow, do as little work as possible, leaving the original softness which usually exists at these points. By following these principles you will produce proper perspective, retain the roundness, and secure natural modeling.

212. Wrinkles

Wrinkles. The character of each individual is such that it affects the frontal muscles that cover the forehead. With age these characteristics become more pronounced and additional minor lines and wrinkles appear correspondingly located on the forehead. Long vertical furrows across the whole front of the forehead are indicative in most cases of benevolence. Therefore, it is essential that care be exercised in penciling these wrinkles; the amount of work will depend entirely upon the lighting of the face. If the light comes to a certain extent from the top, heavy shadows will be cast in each wrinkle, exaggerating it. For this reason it is necessary to carefully blend and slightly build up the deep shadows to their normal degree, but by no means should these furrows be removed entirely.

213. The perpendicular wrinkles between the eyebrows above the base of the nose denote honesty, and as this is a very valuable attribute to the individual the great-

est of care should be exercised in having them reproduce as near their natural state as possible. In Illustration No. 12 three very important lines are presented. Each, according to its curve, represents a characteristic disposition of the subject.

Illustration No. 12. The Importance of Lines   Will, Taste, Feeling

Illustration No. 12. The Importance of Lines - Will, Taste, Feeling.

See Paragraph 213.

214. Will

Will. Fig. 1. Where straight lines and angles are in the forehead, as well as any of the other features of the face, the individual has a strong will power, and will predominates In the mind.

215. Taste

Taste. Fig. 2. The more curved the lines of the face the more artistic taste is in the mind, for taste runs to curves.

216. Feeling

Feeling. Fig. 3. When roundness predominates in the face feeling predominates in the mind, as feeling tends to produce roundness in the features.

217. It is of vital importance that the retoucher observe these three facts, so that he may retain the shape of the lines as much as possible, for to alter them in any way may alter the apparent character of the individual.

218. Expression

Expression. The subject of expression will be taken up in a later lesson, yet as a little advance information, it may be said that a pleasing expression is denoted by lines which are turned upward. These lines are most noticeable in the corners of the mouth, which, when curved slightly upward, give a pleasing expression; on the other hand an extremely sober or melancholy expression is denoted by lines pointed downward.

Character Pointers - Forehead.

219. The broader the head the more selfishness.

220. The higher the crown the more pride.

221. The fuller the lower part of the forehead the more practicality.

222. The fuller the upper part of the forehead and the less of the lower, the more theory.

223. The longer the head the more feeling.

224. The more square the head the more thought and exactness.

225. A high and rather square forehead denotes honesty.

226. A high crown shows signs of energy.

227. The fuller the whole top of head the more reliability.

228. The greater the formation, therefore the stronger the high-lights, on the lower forehead, the greater is the observation and practical talent of the individual.

229. The higher and more pronounced the formation of the forehead the greater is the thought, reason and originality of the individual.