For instance; downward touches on the bridge of the nose, turning naturally around at the end and across the nostrils. The sweep of the jaw is followed by the brush, which. would then turn slightly around the curve of the cheek, taking a straighter touch at the cheek-bone, beneath the eye, and so on. It is impossible to give fixed rules for such a matter, as each artist handles his brush as best suits himself, some acquiring great skill and cleverness in its manipulation.
The lips are also painted in a flat tone at first, using vermilion, madder lake, white, light red, raw umber, yellow ochre, and ivory black.
Having thus laid in the light mass of the face, we proceed to the shadows. Mix for this a medium tone which is not equal to the darkest touches, and yet will represent the general impression of the shadow.
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