Dipping The Same brush into your mixture of cerulean blue and cadmium red light, wipe the brush almost dry and begin laying in the shadows: hair, face, neck and dress. Partly close your eyes to define the shadows on your sitter. (Remember that the entire drawing, in keeping with the subject, is to be of very soft tone.) See illustration opposite.

This part of the drawing is mainly done by the now familiar "scratching on" of the paint. First, lay in the hair, leaving the white canvas for the light areas. Next, beginning at the hairline, draw the shadow down the side of the forehead. Continue with the eye sockets (not the eyeballs) and the lighter tone across the upper part of the nose between the eyes; then down the side of the nose, and under the end; next, the entire shape of both lips and the shadow under the lower lip on down over the chin to the neck and shoulders; finally, the sides of the cheeks.

If you have been careful in executing the drawing to this point, it should now resemble your sitter. If not, rest your eyes for a few minutes and then check your drawing, trying to discover what is wrong. When you do, correct it.

This is enough drawing. You are now ready to begin painting. The approach and the step-by-step method are the same as described in painting the woman, Chapters IX through XIV, the difference being in the color. Chapters XXI and XXII give us some mass-by-mass instructions to review and supplement these earlier procedures.

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