Third Stage (fig. 250). Xow it is time to do more detailed work around the eyes, nose, and mouth. Start by working darker tones into the shadows at the corners of the eyes and along the tops of the eyelids (warm black, red and a little yellow ochre). The edges of the lids next to the eyeball are quite reddish (Indian red and white). Toward the nose there is a cool edge (cold black arid white). Note that the lids follow the spherical surface of the eyeballs and tuck in at the outer corner of the eye. Work on the soft shadow which runs beneath the lower lid for its entire length. Xow give more attention to the nose. Put in the warm shadow around the wing of the nostril (red, white and a little yellow ochre). Do the nostril itself, blending the tone into the shadow beneath the nose (Indian red and yellow ochre). Don't make too much of the band of light that often runs from the check into the side of the nose. Finish this stage with more work around the mouth. The edge of the under lip where it comes against the shadow of the upper lip is very red. The mouth was first painted in pure Indian red and white; this must be modified and varied in parts (cold black and Indian red). Also brush in the shadows at the corner of the mouth and between the two lips (red and a very little white).

First Stage

Figure 248.

Fourth Stage (fig. 251). This is devoted chiefly to accenting those portions of the face where you wish to focus attention. It is largely a matter of personal choice, but the following suggestions may help. The eyes are generally one of the focal points. Emphasize the little edge of light which runs along the top of the lower lid. It is best to put it in with a broad stroke, letting it extend further down than it should; then cover the lower part of it with a darker tone until you cut it down to the right shape. In painting the iris of the eye, notice that it has a dark center and a dark outer edge with a lighter tone between. Do the whole iris in the darker color first, then add the lighter band. Other accents of color or tone can be introduced in forehead, cheeks, nose or chin as the artist desires.

Second Stage

Figure 249.

Fifth Stage (fig. 252). You arc now ready to put on the finishing touches. Always remember that finishing does not mean adding details as much as refining the modeling. Study the picture carefully. The transitions from one plane to another will probably need to be softened in several places, such as the forehead, where they were first blocked in sharply. Don't do this by simply brushing the adjoining tones together. Make a new tone and place it between them. It will add richness and impart a better sense of form. Finally, do not work the picture over too much in ;striving for perfection or it will lose its freshness. ;Be content with a measure of success and correct ;the major faults you see in your later attempts.

Third Stage

Figure 250.

Things To Remember

Always paint with the least amount of paint needed for the effect you want. Halftones in the flesh should always be cool except in the ear and along the bridge of the nose. Remember that after the first stage every touch will be modified by the tone already there. In mixing colors, take this into consideration.

In painting a darker tone over a lighter, note that the edge, where the paint is thin enough for the undertone to show through, will be warmer. When you paint a lighter tone over a darker, the reverse is true; the edge is cooler. Take this into consideration when you plan how your tones are to overlap. When two edges come together with much variety on one side and little on the other, paint the varied side first. Trim up the edge, between the two when painting the simpler tone of the other side.

Fourth Stage

Figure 251.

Things To Remember

Figure 252.