You Are Now ready for your work on canvas. We assume that you have selected a model much like our own and similarly lighted. Here are specific directions:

With a No. 8 flat bristle brush, mix on your palette a tint of cadmium red and viridian. (These two opposites will tend to neutralize each other.) Wipe your brush with a cloth to avoid carrying excess paint to the canvas. Boldly, yet thoughtfully, strike in two lines of movement. (See 1 and 2, Plate 1.) The first represents the right side of the sitter's head and neck. This line goes down to and beyond the second, which is the shoulder line. Next (3) make the basic oval of the face, tipping it to follow the established neckline—this defines the movement and position on the canvas. Add a line (4) to bound the left side of the sitter's neck and another (5) for her right shoulder.

Now (see Plate 2) paint the hairline around the face and bounding the head—do not fuss for accuracy. (The head, by the way, will customarily look better if painted a little under life-size, especially if on a small canvas— i.e., 16 x 20 inches to 30 x 36 inches—or if it is to hang in an average room. A life-size picture—unless the sitter is smaller than average—will appear too large unless hung high in a big room.)

For the beginner we suggest a little more drawing than is usual, so strike in the position of the brows; then, partly closing your eyes to diffuse details, study the entire shadow mass of the face. (See Plate 3.) Using an almost dry brush and the same tone as before, "scratch in" the shape of the eye sockets (using the side of the brush as in Plate 4, page 29). Continuing from the subject's right eye, proceed to lay the same neutral tone down the side of the nose and under the nostril. Follow with the shadow on the upper lip. Lay in the mouth as one mass. Next add the shadow under the lower lip.

The composition has been "set" by two lines of action. The first (1) locates the side of face and neck. The second (2) crosses the first to give position of shoulders. A third (3) establishes the oval of the face, and a fourth (4) bounds the neck and shoulders at model's left. A fifth (5) defines her right shoulder.

PLATE 2

Second Stage Of Drawing

The inside and outside hairlines are next located, as is the gown on the shoulders.

PLATE 3

The Completed Drawing

The entire shadow mass has been lightly sketched in, and the hair has been toned.

Returning to the top, start on the side of the forehead and scratch in the shadow all the way down the side of the face and under the chin. Add the shadow on the neck and shoulders; next indicate some of the shadow on the blouse.

This is all the drawing needed at this point.

PLATE 4

The "Scratch On"

Above is illustrated the term "scratch on." While drawing (as in the previous stages), it is important not to get the paint on too heavy. This method helps to prevent the needless accumulation of paint and is very rapid and expressive.

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