In This Stage, pictured opposite, various refinements take place, including the addition of a middle tone. For this, add a little cadmium red light and yellow ochre to the first flesh tone you mixed.

The forehead will be divided into three areas. Since the light flesh tone and the shadow flesh tone are already on, the next step is to place a warm or middle flesh tone from the shadow across the front of the forehead, blending out to the light. This will give form—a third-dimensional quality—to the head.

When painting the forehead, always blend the flesh with the hair. There should seldom be a line of sharp demarcation where they meet. The same is true where the hair is brought into contrast with the background. In fact, one of the things to guard against in portraiture is an excess of hard, definite edges. Instead, one should use many "lost" edges. There is no formula to guide you here, but through keen observation which will come with your painting practice you will learn where to make edges clean-cut (perhaps with one tone in strong contrast with another), and where soft and blurred.

Continuing with this third step, carry the same tone which you have mixed for the forehead down the bridge of the nose, around the end and light side of the nostril. This tone may also occur in some degree on the light side of the cheek.

Finally, move over to the shadow side of the face and paint the rosy cheek area blending with the shadow to the light—and the same on chin, neck and shoulders.

Third Stage Of Painting

Here the light and dark masses have been joined by painting a middle tone. Note high lights in eyes, expressing animation.

PLATE 8

Fourth And Fifth Stages Of Painting

Refer to the color plate, page 43, as you paint the fourth and fifth stages.

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