The next defect which we have to modify is that which makes itself most evident in the case of persons having at all angular features, especially high cheek bones. The print shows all these defects exaggerated. If we look closely into the precise manner in which this defect is brought about, it will be found that it is on account of a too abrupt transition from high light to shadow, and that to correct it we have to modify this. To do so is not easy, and requires much more practice than what we have already described. The pencil has to be taken and lines have to be gently drawn around the high light where it first passes off into transparency. These are somewhat after the manner of the lines which are made in an engraving, and will, for example, take a form such as we show here.
This modelling may be carried to any desired extent, and when once the skill necessary to perform it is gained it is common for operators to go too far with it.
It should be borne in mind that we are only justified in modelling to such an extent as is necessary to oblit erate the exaggeration of defect which the camera pro duces, giving possibly here and there the benefit of a doubt.
Now we come to the case of the lines which mark advancing age, and here a word of warning must be given. It is true that the camera generally renders
these lines more strongly than they really are, but it must be borne in mind that there are many faces of old men and women which owe their beauty almost entirely to those very lines which so many try to obliterate by retouching.
It is only when people are beginning to get old that any intensification of these lines is objectionable, and it is only in this case that we ought to soften them with the pencil. It is by no means difficult to do so. The point is made very sharp and is worked over the lines.
If retouching be unsatisfactory it may be removed by a drop or two of turpentine and a brisk rubbing with a cloth.
Spotting.
This term is applied to all hand working which is clone on an ordinary print. Probably the name arises from the fact that by far the greater quantity of such work consists in removing white spots. 'Water-colours are used, several being mixed to get a shade which exactly corresponds to the colour of the print. The three most useful colours are Indian ink, sepia, and crimson lake. In fact with these three any desired shade can be got. They are mixed on a palette with a little gum-water or albumen (white of egg) and water, and are applied by means of a sable or camel's-hair brush.