The mouth also is carried on with more detail

The cars, which are laid in with the local tints, are repainted with more color on the lobe and outer edge, and warm accents are added inside.

The mouth also is carried on with more detail. The upper lip is darker, and also cooler and more purple in quality of red than the under lip, which is bright and warm. Paint the upper lip with madder lake, white, light red, a little vermilion, cobalt, and ivory black. For the lower lip use vermilion, yellow ochre, madder lake, raw umber, a little ivory black, light red, and cobalt.

In the high light use vermilion, madder lake, white, yellow ochre, and a touch of ivory black.

At the corners of the mouth notice a soft tone of gray which makes an agreeable transition from the red to the local flesh tone.

The outline of the lips is also softened by a delicate gray half-tint both above and below.

Soften the tones into each other with the brush

The check is re-painted, giving more rose-color to the local tone by using madder lake, vermilion, white, yellow ochre, and a little ivory black.

Add the high light on the cheek bone if there is one, and the light is always lighter just there, even if the gradation is so soft as not to show much.

Soften the tones into each other with the brush, but without any other attempt at blending than this gives. Do not pass the brush over the whole surface, but unite the edges only, keeping distinct the shape of each different tone as nearly as possible while thus modeling them into one harmonious whole.

Some subjects for studies III

Paint the whole in one general tone, omitting the high lights and strongest shadows. These arc put in afterward, using a clean brush for the lights, for which mix silver white, Antwerp blue, a little cadmium, and madder lake with a little ivory black, letting the white and blue predominate.

Take up plenty of paint on the large bristle brush, and put it on crisply with firm touches, carefully studying the exact shape and location of the lights.

Do not attempt to blend or retouch, but drag the edges of the light a little over the general tone. In this same way paint each object, laying in general tones at first, and putting on the lights and  shadows afterward, proceeding to work up the details, and gradually carrying the whole toward completion in the manner described in the previous chapter.

To paint brass candle-sticks, mix for the general tone, light cadmium, yellow ochre, silver white, raw umber and a little ivory black.

In the shadows use yellow ochre, white, burnt sienna, raw umber, a little permanent blue and ivory black. The high lights, which are put on with a small brush, are made with white cadmium, a little raw umber and a very little ivory black.

The white paper is painted first in a general tone of very light delicate creamy gray, using silver white, yellow ochre, a very little ivory black, permanent blue and light red. The high lights are  then touched in sharply with silver white, qualified by a little yellow ochre and a mere touch of ivory black. The colors used for the shadows are a little silver white, with yellow ochre, ivory black, permanent blue and light red. Certain deep small touches occur in shadows which are called "accents," and these are always warmer and richer in color than the general shadow. For example, where one sheet of paper overlaps another, both being in shadow, a sharp, dark line is found beneath the upper sheet. Paint these accents with ivoryblack, burnt sienna and a little permanent blue.

In painting the glass inkstand, notice that the color of the transparent glass is affected by every object seen through it. For example, the background showing through the glass, in parts gives it a tone of warm gray somewhat lighter than the background itself, but partaking of the same colors.