MODELLING THE FEATURES.
Presuming a smooth effect has been ob tained, which will require a great deal of study, the face may be modelled. Still using one of the before-mentioned touches, start with the forehead, increase the light on it above the eyebrow, rounding it into a more pleasing form. A very soft shadow occurs between this and a similar light over the left eye. The light on the cheek is next rounded into shape, care being taken not to make it too prominent or to obliterate the soft shade netween it and the lesser light below—caused by a pucker ing up of skin and flesh through the con traction of the zygomatic muscles—or a swollen cheek will result. Next take the light on the nose, which must begin lightly line of the iris with a very finely-pointed pencil. The expression should be improved where possible ; the general lines of the face, to give a pleasing expression, should be allowed to take a more or less upward at the frontal depression, broaden out, and soften off again, and finish with a round clot near the end of the nose. Of course, every face will vary from this ex direction. Especial care must be taken with the naso-labial fold (line from Dose to mouth) to preserve its proper curve. for, by a most delicate alteration, it may be ample, and the retoucher must be guided by the true form of the nose as so far ren dered. In all cases modelling must of necessity differ so much that only the made to show a smile or a sneer. It is in this stage that a knowledge of drawing and anatomy, coupled with artistic feeling, will be found of benefit.
broadest rules can be given. The light on the upper lip seldom needs more than shaping, but the two lights on the lower lip may often be brightened with advan tage. The chin should be well rounded, and care should be taken to preserve the dent or dimple. As little as possible should be done to the eyes, but sometimes they may be brightened with light specks in the iris, accompanied by a reflected light below and a sharpening of the out As the film takes the paint more readily than does the varnish, the negative should be spotted before varnishing. Spotting
consists in removing the tiny pinholes caused by dust or defective plates. The smallest of these may be touched out like ordinary spots with a No. 1 or No. 2 pencil, but the others will require stippling out with a No. 2 brush and Indian ink. It is considered by some workers a convenience to have the paint on a piece of glass, so that it may be held up to the light and its density correctly matched. Taking up what is considered sufficient, just touch the spot very lightly with the extreme tip of the brush. The great point in spotting is to keep the paint as dry as possible. If the paint is too wet, a ring will be made round it and the spot itself will remain untouched. Some spots, however, in spite of care, resist the obliterating treatment, and the only thing left then is to paint over somewhat opaquely, and obliterate them in the final spotting in the print. This spotting of print.much neglected by the amateur. s — particularly those in platinotype—issuing from the leading studios are worked upon by skilled artists to a considerable extent. The easiest plan is to stipple in the part with water colour. Alix crimson lake, ultramarine, and black to match the photograph. For platinotype of bromides, ivory black and a little ultramarine should be used. Soak some lumps of gum arabic in water and melt by warming. Mix well a few drops with the paint ; the surface should then have on drying the same ap pearance as the surrounding parts. It is well to have a cup of thin gum water at hand to dip the brush in occasionally. Keep the touches even and close together.