294. Crooked Noses

Crooked Noses. In the case of a crooked nose, if it is large and prominent it will be advisable to cut away the ridge or prominence by etching. Instruction for this work is given in the following lesson on etching. If the nose is small and hollow, then you will need to add on

more high-lights with the pencil - i. e., lengthen and level up, as it were, instead of cutting away. The heavy shadows underneath the nose should be softened by building up a trifle. This will diffuse the abrupt contrast at once and add beauty to the picture.

295. The grooves or lines which divide the nose and cheek are sometimes very harsh and prominent, the depth or harshness of the lines depending on the style of lighting, etc. These lines should be subdued, but never entirely removed. The amount of work permissible on them depends upon the age and sex of the subject. The amount of work required is often so trifling that the greatest of care and judgment must always be exercised, for it is an easy matter to overdo the modeling and destroy character, individuality and roundness (atmosphere).

296. If the subject has a short stubby nose, it will be advisable to lengthen the high-light, extending it toward the tip of the nose. This will lengthen its appearance. On the other hand, if the nose is long and really appears exaggerated, the etching knife will have to be applied to the portion of the high-light nearest the tip, thus shortening the high-light, and with it the apparent length of the nose (this will be taken up in the etching lesson). For the present, however, if you desire to shorten the nose you may accomplish it by penciling and removing a trifle of the tip. Be very, very careful, however, in doing this, as you will, in shortening the nose, make it appear broader. To overcome this breadth, you must blend the sides of the lobe in addition to working on the tip, and thus keep the nose in its proper proportion.

297. Eyes And Eyebrows

Eyes And Eyebrows. There is no portion of the face which requires such careful handling as the eye and eyebrows. Very often the eye of the subject gives the whole expression, which is easily ruined by the least overworking of any part. Intelligent handling, however, may often materially improve the expression.

298. For instance, if the eye on the shadow side of the face is not as strong as the eye on the light side - due

to its being thrown in deep shadow - it may be carefully-built up; but it must not be made as strong as on the light side, for it is not intended that these portions should be as strongly illuminated. However, slight building up will give a more pleasing effect, and still not change the expression.

299. The upper eyelid and the flesh under the eyebrow often appear too dark and heavy, particulary when the subject has deep sunken eyes. Detail may be worked into this shadow so that it will balance nicely with the highlights, for, in building up, you reduce the contrast existing between the high-lights and shadows. The same rule also applies to the under eyelid of sunken eyes. All of this work requires but a few light strokes of the pencil, and great care must be exercised that the work is not carried too far.

300. In the case of very full or heavy eyelids, which also give sharper shadows, the same rule must be followed. Even up the lines and shadows and make them blend softly with the highest portions. In some subjects the lower eyelid will droop a trifle at one corner, giving a bad shape to the eye. These lines may be shaped to give a better appearance by penciling the lid in a natural curve to correspond with the shape of the eye. You may require the use of the etching knife to produce shadows; on this you will be instructed in a more advanced chapter.

301. The tear-bags under the eyes are sometimes quite prominent and produce heavy, objectionable lines, which need to be modified. These grow heavier with aged persons, and should be modified accordingly. The perpendicular cross-lines should be entirely eliminated, for by their removal you also give clearness to the lines running parallel with the lower portion of the eye and which are directed toward the corner of the eye.

302. Heavy downward extending shadows under the eyes give a sorrowful expression to the face. These shadows can be removed either entirely or only modified, according to the subject.