247. Blending And Connecting Sections Of The Face

Blending And Connecting Sections Of The Face. In working toward the temple you will come to the place where you stopped retouching on the forehead. With long general strokes connect the forehead with the cheek so as to unite the work. Gradually blend the forehead and cheek in their proper tonal relations. When connecting one distinct high-light with the next highest light,

such as the high-light of the forehead with the high-light of the cheek, proceed from the highest point of light on the forehead to the temple. Stopping there commence with the highest point of light on the cheek, and work toward the temple. In connecting the two sections, it is best to begin where you left off on the forehead, working toward the retouched cheek. This is preferable to working upward, for in so doing you are liable to apply the lead too heavily and work in steps, while by proceeding downward you have a better chance of gradually blending into the lower tones.

248. Labial Furrow

Labial Furrow. The line running from the corner of the nose to the corner of the mouth is known as the labial furrow. Work down into this furrow, or wrinkle, and not from the bottom up on to the upper lip. Be very careful not to eliminate this furrow entirely. If the face has been lighted with a broad front lighting scarcely any retouching or building up of this furrow will be required. On the other hand, if the lighting comes more from the rear, so that the cheek will cast a heavy shadow into this furrow, it will be necessary to do considerable work in order to properly build up the shadow thus caused. Do not work crossways of this furrow. The stroke should run the longest way, yet by this we do not mean that you should use one long stroke the whole length of the furrow. A number of short, partly curved lines will break up the shadow, and by working the long way of the furrow there will be little danger of your lead going over onto the other portions, building them up equally with this shadow.

249. Where there are many wrinkles on the cheek the larger ones should be lightened, while the smaller ones may be removed entirely. This is a general rule, which is applicable when working on any or all features. (See Illustration No. 15. The two portraits to the left show the forehead and cheek very carefully modeled.)

Forehead and Cheek Retouched.

Forehead, Cheek, Lips and Chin Retouched.

Illustration No. 15 Retouching Examples - Front View - Second and Third Stages

See paragraph 253

Forehead and Cheek Retouched.

Forehead, Cheek, Lips and Chin Retouched.

Illustration No. 16. Retouching Examples - Profile View - Second and Third Stages

See Paragraph 254.