DOI Page / Citation link:
https://doi.org/10.11588/diglit.19955#0040
38 TOUCHES. OBSERVATIONS ON THE FACE.
TOUCHES.
el Touches" are the darkest parts of the various features,
and where the expression is concentrated, as the pupil of
the eye, the eyelash, the darkest part of the eyebrow, the
nostrils, the corners of the mouth. They give the true
expression of the features; they are, however, always put
in last, and are mixed with gum-arabic, to give force and
transparency. Sepia may be used for those about the eye;
hut the nostrils are put in with pink madder and sepia :
this is true also of the mouth. The mouth is the most
changeable of all the features, and the touches upon it will
determine the general expression.
The light in the pupil of the eye, and on the nose, is
always to be put in with constant white. " White lead"
must never be used, as it will turn brown or black; indeed it
ought never to be made as a water colour, so thoroughly has
it been superseded by other superior chemical foundations.
GENERAL OBSERVATIONS ON THE EACE.
Next to expression and good colour is roundness. This
is effected partly by graduating your shadows gently into
your lights, and partly by " reflections;" that is, where the
greatest depth of shadow is between the light and the
extreme edge of the round object to be represented. These
"reflections" may generally have a little yellow (Roman
ochre) worked into them; with careful judgment, however,
for yellow is a very powerful colour, and may easily be
TOUCHES.
el Touches" are the darkest parts of the various features,
and where the expression is concentrated, as the pupil of
the eye, the eyelash, the darkest part of the eyebrow, the
nostrils, the corners of the mouth. They give the true
expression of the features; they are, however, always put
in last, and are mixed with gum-arabic, to give force and
transparency. Sepia may be used for those about the eye;
hut the nostrils are put in with pink madder and sepia :
this is true also of the mouth. The mouth is the most
changeable of all the features, and the touches upon it will
determine the general expression.
The light in the pupil of the eye, and on the nose, is
always to be put in with constant white. " White lead"
must never be used, as it will turn brown or black; indeed it
ought never to be made as a water colour, so thoroughly has
it been superseded by other superior chemical foundations.
GENERAL OBSERVATIONS ON THE EACE.
Next to expression and good colour is roundness. This
is effected partly by graduating your shadows gently into
your lights, and partly by " reflections;" that is, where the
greatest depth of shadow is between the light and the
extreme edge of the round object to be represented. These
"reflections" may generally have a little yellow (Roman
ochre) worked into them; with careful judgment, however,
for yellow is a very powerful colour, and may easily be