197. Character Lines Of The Individual Must Be Retained

Character Lines Of The Individual Must Be Retained. In modeling, there is one feature in particular which is very often neglected and entirely lost sight of by the average commercial retoucher. It is the preserving of the character of the individual. This is of vital importance, and there are cases in which the unskilled retoucher is responsible for much more harm than he is aware of.

198. For example, you may have a negative of a subject with strong lines in the forehead, running either horizontally or perpendicularly. In the latter case they usually will be between the eyes. These are character lines and must be preserved. They may be modified, but by no means removed. To eliminate them would change the likeness and thus misrepresent the subject. These lines, of course, are more noticeable on men's faces; however, it is permissible to soften the lines to a greater degree on faces of women. It is true, some subjects like to be idealized and you must please them. This can be done by simply subduing the heavy lines, yet holding the likeness.

199. Many times men are distinguished by some feature of the face. To change or subdue such a feature to any marked degree would ruin the likeness. When you once become expert with the pencil you will find there are many ways of idealizing the subject and yet retaining all likeness. You will be fully instructed regarding this in the more advanced lessons of this volume.

200. There are no two faces similar, nor any two expressions just alike; therefore, you should not work in the same manner on all. A general study should be made of the negative before attempting to do any work upon it. Have a regular plan of procedure. First, proof the negative in its original state; then determine what character has been expressed in the negative. If there are any defects which should be removed decide upon the manner in which to proceed. Preliminary study will save you much time and actual work, for if you start in at once to pencil on the negative regardless of likeness you will make many strokes in the wrong place, and, consequently, more strokes will be required to cover your first errors. Such additional work will tend only to over-retouching and destroying of character, as you will build up features or portions which have no right to be in as high a key as you have made them.

201. The beginner will invariably apply more lead to the negative than is required. He is not sure just where to place his stroke, nor has he gained sufficient experience to apply the proper weight to the pencil; but a little experience will acquaint him with the requirements and he soon will be able properly to remove blemishes and imperfections, as well as to blend and model with comparatively few strokes. It is extremely essential that the beginner work slowly, as the hand is able to perform the work more readily than the untrained eye can see what is necessary to be done. By experience, however, the eyes become trained to observe defects which previously were overlooked, and seeing these more readily tends to assist in controlling the application of lead. You will also perform the work much more rapidly and with greater ease.

202. As each prominent feature of the face requires special treatment in itself, instruction will be given in the methods for handling each in their regular order. You will readily observe that there are wonderful opportunities for the skilled retoucher to show his ability and produce results which the unskilled workman would consider impossible.

202a. Muscles of the Face and Neck. - As it is very essential that the stroke in modeling follow the general trend of the muscles, rather than to make the strokes crossways, the accompanying illustration No. 10a should be carefully studied.

Illustration No. 10a. Muscles of the Face and Neck.

Fig. 1

Fig. 2

Illustration No. 11 Plain Portrait Lighting - Prominences of the Forehead See Paragraph 205