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    20 Oil Portraits Step by Step PDF

    Uploaded by

    Jordana Sanchez

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    © All Rights Reserved
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    of 52
    OIL PORTRAITS | STEP*BY*STEP Wendon Blake Copsright Copyright © 1980 by Bithoard Lid ‘Alb nghts reserved ander Pan Amirican and inlrmitionsl Copyngit Conventions, bled in Canada by General Pubishing Company, Lad 0 Leal Rea, Don Milk: Toronto, Ontario. Pubhabod in the United Kinstor by Constable and Coen. Lt 8 The Lanchowers, 162-164 Feftham Palace Read, London Wis HER Bitdingrophical Nove “Thin Dioner edition ir published ot 1994, nan abridged expabicuisom ofthe ‘work first publihed ix 1980 by WatsoxrGruyptll Publications New York, undct he tthe Pris in Oil A SteptSiep Arr dnsaractioe Bek, as part of The Att’: Paietng Libragy, Library of Campress Caraicgmag.in- Punicatiom Data Blake, Wenchon, (Od portraits * cinp by step / Wondan Blake ; paintings by George Pamantino a. ‘Am sbckiged repubication of the work first published in 1980 by Witsoa- CONTENTS. Introduction 4 Colors and Mediums $ Equipment 6 Head Proportions 7 Painting the Head 8 Painting the Eye 10 Painting the Mouth 12 ig the D Red-Mairsd Woman = 27 Durk-Heired Man 31 : Dark-Haited Woman 35 Black Man 39 Demonstration 7 Asian Woman 43 Planning the Portrait, 49 ‘Composing the Portrait 50 Lighting the Portrait $2 Pencil Drawing 6 Charcoal Drawing $8 Chalk Drewing 60 OW Sketching 62 COLORS AND MEDIUMS Color Selection. For mixing flesh ant hair toncs, portrait and figure painters Jean heavily oa warm col- ors—colors in the red, yellow, orange. and brown range. As you'll sec in a moment, these colors dom hate the palette, However, even with a very full selec- tion of these warm colors, the palemte rarely includes more than a dozen hues ects. Cadmium red light is a fiery ved with a hint of orange. It has tremendous tinting strength, which mocans that just alittle goes a long way when you mix cadmium red with another color. Alizarin crimson isa darker red with a slightly violet cast, Venetian red is.a coppery, brownish hue with considerable tinting strength too, Venetian red is a member of a whole family of coppery tones which include Indian red, English red, light red, and terra rosa. Any one of these will do. ‘Yellows. Cadmium yellow light is a dazzling, sunny yellow with tremendous tinting strength. like all the cadmiums. Yellow ochre is a voft, tannish wne. Raw sicnna is a dark, yellowish brawn as it comes from the tube. but turns to a tannish yellow when you add white—with a slightly more golden tone than yellow echre, Thus, yellow ochre and raw sienna perform similar functions. Choose either one. Cadmium Orange. You can casily mis cadinium of ange by blending cadimium red light and cadmium yellow light, So cadmium orange is really an optional calor—though it’s convenient tm have. Browns. Burnt umber is a rich, deep brown. Raw umber is 9 subdued, dusty brows that tums to a kind of golden gray when you add white Blwes. Ultramarine blue is adark, subdued hue with a faint hint of violet. Cobalt blue is bright and deticate Green. Knowing that they can easily mix a wide range of greens by mixing the various blues and yel- lows on their pabetcs, many professionals don't bother to cary green. However, i's conveniem to have a tube of green handy. The bright, clear huc called viri- disn is the green that most painters choose. Black anc White. The siandan black. used by al- most every oi! painter, is ivory black. Buy either zinc white or titanium white; there's very little difference between them except for their chemical content. Be sure to buy the biggest tube af white that’s sold im the store; you use lars of it Linseed Oil, Amhough the color in the tuber already ‘contains linsced oil. the manufacturer adds only ‘enough oil to produce a thick paste that you squeeze ‘out in litthe mounds around the edge ef your palette. When you start to pain!, you'll probably prefer more fluid color. So ty a bottle of Hinses’ oil and pour ‘same into that ile metal cup (or “dipper™) lipped to the edge of your palette. You can then dip your brush into the oil, pick up some paint an the tip of the brush, ‘aod blend oi and paint together oa your palette, Turpentine. Buy a big boule of turpentine for two Purposes. Youll want to fill that second metal cup. lipped w the edge of your paletic, so that you can add a few drops of turpentine to the mixture of paint and linseed oil. This witl make the paint even more Auid ‘The more turpentine you add the more liquid the paint ‘will became. Soene oil painters like to premix finseed ‘oi! and turpentine, 30-50, in a borle to make a thinner Painting mediuw, as it's called. They keep the me- dium im one palette cup and pure terpentine in the other. For cleaning your brushes ax you palst, pour same more turpentine into a jar abewt the size of your hand and keep this jar near the palcttc. Then, when you want to rinse out the color on your brash and pick lup a fresh color. you simply swirl the brash around in the turpentine and wipe the bristhes om a newspaper, Painting Mediums. The simplest painting mextums is the traditional 50-50 blend of linseed oil and turpen- tine. Many painters are satifled to thin their paint with that medium always, with no variation. Cn the other hand, art supply stores do sell other mediums. that you might like to try, Three of the mast popular are damar, copal, and mastic painting mediums, These are usually a blend of natural resin—called damag, copal, or mastic, as you might expeet— plus some linseed oil and some turpentine, The resin is really a kind of varnish that adds luminosity to the paint and makes it dry more quickly. Once you've tried the traditional linsced oil-turpentine combina- tion, you might like to experiment with one of these fesinous mediums. You might also like io try a gel medium. This is a clear paste that comes in a tube. Palette Layout. Before you start to. paint, squecze outa Lith: dab of each color oa your paletty, plus a big dab of white. Establish a fixed location for each cok, % you can find it easily. One pood way is 10 place your cow colors (black, bluc, gicen) along one edge and the warm colors (yellow, orange. red. brawn) along another edge, Put the white in a corner where it Won't be sailed! By the other colors, EQUIPMENT Bristle Brushes. The flict (twp) is bong and springy pounded lip, ard muikes a soft siwike. The flat Koenter) has a scjusrish tip ani makes a mete rectangular stroke. The bright (butiom also makes a rectangular stroke. ‘but the bristles are short amd stiff. leaving a strongly tex ared stroke Softhair Brushes. Bristic brushes do most of the work. but safthair brushes are helpful for smoother, more precise brahwork. The wp twos are sables: a small, Aa brush makes rectangular sirokes; a round, poinied brush 1 makes flu limes. At the bottom is an eahair brash, hile just above itis a soft, white nylon brush: book make brad, smooth, squarish strokes Knives. A palette knife (top) is useful for mixing coker on the palette; for scraping coler off the paletie at the epd of the painting session: and for scraping color off te canvas when you're dissatisfied with what you've done and want te make afresh start A painting knife tbotiew) has a sery thin, hex ible ake that’s specially designed for spreading colar on sama Eaaal. A wooden stedio easel is convenient. Your canvas own, stretched canvas, of gesso panel is hel upright by worden “grippers” that dike up and down ts ft the size of the painting. They also adjust wv match your own height Buy the heaviest ani stuniiest you can afford, sa it wot wobble when-you attack the patting with vigorous strokes, Front View, Seca from the from, the “classic” head is taller than it is wide, The eyes arc about midway between the 1op of the bead and the chin. The underside of the nase about midway between the eyes and the tip of the chin, hike the eilge of the lower lips roughly ankfmay betacen the tip of the nose and the tip af the chin At its widest point, usually halfway down the head, the head is “five eyes wide,” 2 344 View. Even when the head mrs. the proportions re- ‘main essentially the same, The eyes are will halfway down the ead and they line up with the top of the ear. The bottom of the nose is still midway between the cyes and the chin, aligning with the earlobe. Amd the Fowcr lip will falls mid- way hetween the tip of the nose and the tip of the chin, lining up with the corner of the jaw. Profile View. The comer of the eye lines up with the top of the ear, The underside of the nose lines up with the loner edge of the earlobe. The lower lip lines up with the squarish comer of the jaw. The height and the width of the head ane roughly equal in this sbdc vicw. Without the neck, the enine head would fi quite meatly into a square box 34 View. Now the head is scen from slightly above. You see more of the top of the head. If you draw a lime through the corners of the eyes, that Hine will sland slightly dawn ward froma right to beft. Ser will all allel with the line of the eyes. Fro ks just u bit longer and you sce less eyes. {Step 1. A round, softhair brush defines the shapes and pro- [pomions of me head. Tube color is thinned with turpentine tothe ‘of watercolor. The face is defined as an ‘oval, Justa few lines locate the features. Notice the vestical ‘center line that divides the face symmetrically and belps you to place the features more accurately. ‘Step 2. Next. a bristle brush defines the shapes of the shad- ‘owes with broad strokes. The light comes from te left, $9 there are shadow planes cm the right side of the hair, fore- head, eye socket. nose. cheek. lips. jaw, chin. and mock, [Now there's a clear distinction between light and shadow, ‘The face already looks three-dimen sional ‘Step 3. A brisile brush covers the lighted area of the Face— the forehead, brow, ear, cheek, pose, upper and lower tips, find the light-siruck paich on the cheek that’s in shadow. Now the bruh begins to atk! some halftones (lighter than shadows, but darker than lights) on the cheek, jaw, chin, andineck. Dark strokes hepin to define the eyes and the ear. Step 4. More halfiones ace ackied tomo! the ferns of the ‘hie, eat, eyes, ose, mouth, and chin. A bristle brush be: ‘gins to blend daths. lights, and halftones. together Dark ‘strokes shacpen the exige of the features anal some touches of darkness bring the shoulders forward PAINTING THE HEAD ‘Step 5, in this final stage. a bristle brush suengthers the darks and the lights, Blencs the tones together, aid adds the last touches of detail, Bristle brushes ald darker strokes te deepen the shajows and tbe halflones, then pick up pale ‘color to brighten the lights an the forehead, Brow, cheek, lips, ad chit, These tories are brushed together with som, ‘ack anel:forih sik that blur the transition between halftone. and shadow. The tip of round. safibabr beush ands the dark lines of the eyebrows. eyes, nostrils. lips. and ‘cat. This same brash hls highlights to the eyes and toachex ‘of Light along the nore are lips, A bristle brush sugppests the feature of the Bair with sift, spotancous strokes that fole low the direction of the hair. The background is darkesed land the portat is complete. Remember the sequence of ap rations. The preliminary brush drawing defines shapes and propestions. The darks establish the light and shadow planes of the face, Lights and halflones come mext. Darks, ights, are halftones ane amplified and brushed together. Finally, the darks, lights, and halftones are fusther defined and adjasted—and the painting is completed with enisp teats of dari and fight that define the features. You ray have noticed that the backgrousd tone appears early in the evelopment of the picture and is then modified in the final stage. a5 the head is completed. A. professional always #2 ‘members that the background is part of the pictare—rot an afterthought—and works on the background while working. oon the head. ‘Step 1. A round, softhair brush sketches the Hines of the ‘eyebrow, the lid, and the eye itself. Memorize the subtle ‘contours of the lids. Starting from the outer corer, the top Id follows a long, fat curve, numning. downward atthe in aide corner. The lower lid does the opposite, starting from the inside corner as a long. lat curve, then turning upward 1a the outside comer. ‘Step 2. A bristle brush scrubs in the darks: the shadow of the inside corner ef the eye socket; the tone wf the iris; the shadow lines within the upper lid, Then a paler tone is brushed in to suggest the delicate shadow on the white of the eye and the shadow beneath the lower lid, ‘Step 3. The upper lid casts a shadow across the top of the iris. This tone is added by a flat, softhair brush. Thee the same brush acs the dark pupil. The tip of the round, soft- hair brush achis the shadow line in the comes of the eye. then paints a slender strip of light along the edge of the ower lid. A bristle beush begins to serub in the hair of the eyebrow, ‘Step 4. The tip of a round, safthair brush strengihens: ancl refines the shadows within the upper lid, plus the shadow cast on the white of the eye, This sane brush sharpens the rounded shape of the iris and the pupil. aching a brilliant ‘white highlight. The shadows in the eye socket are strength ened. The round brush extends the eyebrow with delicate, linear strokes. PAINTING THE EYE Step §. Stady this cnfarpement of whe complcied eye. A bristle brush has added more shadow beneath the Irow ta make the eye socket look deeper. A. round, softhair beush ‘has strengthened the shadow lines within the upper lid Notice the modeling of the lights and shadows on the eye liself. The eye is a rounded form, after al, so the lights and shadows should emphasize its curving shape. Thus, the white of the eye is brightly lit at the fight, but curves gradi- aly into shadow at the Ket, The three-dimensional form of the eye is emphasized by the strip of shadow that’s cast by the upper lid and curves over the ball of the eye. The se- quence of painting operations is the same sequence you're: already seen inthe step-by-step demonctration of the head: ‘brush lines for for ant proprrtions; bro! masses of darks, halfiones, and lights; final darks, lights, and details. Step 1. The brush draws horizontal lines for the top of the upper lip, the division between the hips, and the bottom of the lower lip. I's impwrtant to visualize the mouth in rela- tiom to the nose and the chia. which are also indicated with ‘quick touches of the brush. A vertical centerline divides the face into equal halves. and helps you to place the features. symmesrically, ‘Step 3. Dark strokes ate added to suggest the shadow cast ‘by the comer of the nose, plus the shadow om the side of the chin, Halfiones are aided arcund the lips and chin. The brush begins to blend these tones togeter with cawal strokes that merge darks, halftones, and lights Stop 2. The darkest notes are placed first—the underside of the upper lip. the shadow beneath the lower lip, and a postr Halfiones define the planes above and below the lips. including the concave valley that joins the nose and the ‘upper lip, The lightest tones are places! within this valley at the center of the upper and lower lips, and at the center of the chin. ‘Step 4. The darks are strengthened with precise strokes that ‘sharpen the contours of the lips. nose, and chin. The light planes arc mack still lighter to emphasize the contrast be- ‘tween light and shadow, making the face look more three- dimensional. A. pointed brush sharper the dividing linc of the mouth, deepens the shadow beneath the kower lip. ated sas the rewrite PAINTING THE MOUTH ‘Step 5. In this enlarged close-up of the finished study of the mouth, you san see how the tones have been softened and blended to mae the face look Founder and move lifelike ‘The brush has blurred the edges of the darks w make the ‘nosirils and the leps Fook sofier and rounder. Much of the scrubby brushwork around the mouth has beca softened 10 make the strokes flow tcgether more smoothly, Soft, Blurry strokes of light have bees added to the lower lip and the 13 chin, which now come forward more distinctly, Notice haw the comer of the mouth al the beft has been darkened and softened. As you paint the mouth, you'll notice thatthe up- pet lip is usually in shadow, while the lower lip tends 10 catch the Light, Beveath the lower lip. there's another pool of shadow, As the chin curves outward, it catches the light, then moves back into shadow as it curves inwand at the very bottom. ‘Step 4. The brush drawing not only defines ihe bridge of the nose and the nostril, but also suggests sich surrounding stroctures asthe eye sockets and the center line of the upper Tip. The lines also make a clear distinction between the shape of the tip of the nose ard the “wings” of the nostrils. Step 2. A bristle brush adds the darks. The light comes from the left and ftom slightly above, creating deep shad ‘ows in the comer of the eye socket, beside the Inriige and tps ofthe nose, alongside the nostril “wing.” beneath the nose. and on the side of the epper lip. The tresh also innlicates a hathone for the brow above the bridge of the nose, ‘Step 3. The balfiones and the lighter tones come meat. The rounded corner of the eye socket on the lighted side of the face is modeled with a halftone. The nose and the cheeks arc painsed with lightcr wnes that arc distincdly paler than the surrounding darks. ‘Step 4. Darks and halftones are added to define the shapes, ‘of the eye sockets the shadow side of the nose, the tip, and the nostrils. The tones are gently brushed together to create soft transitions, A softhair brand brightens the beige of the rose und the cheeks with pale strokes, then carries a slender highlight down the lighted edge of the nose, PAINTING THE EAR Step 1. The preliminary brush drawing defines the general shape of the ear, then locates the earin relation to the eye, ese, cheek, and jaw. The curve of the cheek comes right ext 10 the ear. The top of the ear aligns with the corser of the eye, while the lobe lines up with the nase, The angular corner Of the jaw is well Below the ear and level with the oath. Step 3. The twa pools of shadow within the ear are carried downward with strokcs of halftone. The rest of the ear is ‘covered with a pale tone that represents the light. Now the ‘Planes. of the eat are clearly defined in three distinct tones: darks, halfioncs, and lighis, So far, only the major plancs of the car have been defined. Slop 2. Dack sirokes define the top shadows within the ear, the shadow beneath the fobe, the shape of the hair, and the dirk edge Gf the jaw, which continses tap past the lobe. ‘With just these few dark touches, the ear already begins to look three-dimensional. Step 4. Now the brush adds more lights anit halftones to ‘define such smaller forms as the ria, the vailey just beneath the top rim, and the Kobe, A softhair brush blends the edges ‘of the darks with the halRones and the lights. A. poinied Ibrush adds touches of darkness beneach the rim, within the hollow of the ear, and at the comer of the lobe, then adds ‘final touches of fight, Buying Brushes. There are three rules for buying (brushes, Buy the best you can afford—cven if you can, afford ony a fem. Buy dig brushes, nov little ones; big brushes eacourage you to work in bold strokes. And ‘buy beashes in pairs, roughly the same size, For exam- ple, if you're painting the tight and shadow planes of face, you can use one hig brush for the shadows, int you'll want another big brustr, unsullied by dark col (ors, to paint the skin in bright light. Recommended Brushes. Begin with a couple of really big bristle brushes, around 1° (25 mm) wide for Painting your largest color area. Try two different shapes: possibly a flat and a filbert, one smaller than the other. Then you'll need two or three bristle brushes aboot half this size: again, try a flat, albert, and per- hhaps a bright. For painting smocther pascages, details, and lines, three softhair brushes are uscful: ome that's about V2" (25 mm) wide; one that’s about half this ‘wide; and a pointed, round brush that's about 1/8" or VIG" (3-3 men) thick al the widest point. Knives. For mixing colors on the palette and for Scraping a Wet canvas when you want us make a cor rection, « palette knife is essential. Many oil painters prefer to mix colors with the knife, Hf you like to pukar ‘with a kaife, buy a painting knife with a short, flexi bie, diamond-shaped blade. Painting Surfaces. When you're starting to paint in oil, you can buy inexpensive canvas boards at any art supply store. These are canvas costed with white paint and ghd to sturdy cardboard in standant sizes that ‘will Bt into your paintbox. Another plessant, inexpen- sive painting surface is canvas-textured paper that you can buy in pads, just like drawing paper. (Many of the demonstrations in this book are painted on canvas- textured paper) Later, you can buy stretched can- ‘vas— sheets of canvas, precoated with white paimt and nxiled to a rectangular frame made of wooden stretcher bars. You ean save money if you buy stretch- er hars and canvas, then assemble them yourself, If you like to paint on a smocth surface, buy shorts of hardboard and coat them with acrylic gesso, a thick, white paint thai you can thin with water. Easel, An case! is helpful, but not essential. 1's just a wooden framework with two "grippers" that boli the ‘canvas upright while you paint. The “grippers” slide ‘Up and down to fit larger or smaller paintings—and to match your height, If you'd rather not invest in an vemsel, you cam lepeon ine. One say is to buy a sheet of ‘fiberboard about 1" (25 mm) thick und hummer a few ‘nails part way into the board, so the heads of the aails ‘overlap the edges of the painting and hokd at securely. ‘Prop the board upright on a tabletop or a chair. Or you ‘can just tock canvas-cxtured paper to the fiberboard. Palntbox. To store your painting equipment and to cary your gear from place to place. a wooden ppainibex is convenient. The bax has compartments for brushes, knives, tubes, small bottles of oil and turpen- tine, and other accessories. It usually holds a palette- plus canvas boants insite the li Palette, A wooden painthox offen comes with @ ‘wooden palette. Rub the palette with several coats of linseed oil to make the surface smooth. shiny. and nonabsorhent. When the oif is dry, the palette wan't suk up your tube color and will he easy 10 clean at the end of the painting day. Even more convenient is a Paper palenc. This looks like a sketchpad. but the Pages ate nonabsorbeat paper. You squcees out your Solos of the top sheet. When you're finished, you just ear off and discard the top sheet, Paper puleties come in standard sizes that fit into your paintbox, ‘Odds and Ends. To hoki mrpentine, linseed oil, ot painting medium buy two metal palette cups (or “dip- Pers”), Make a habit of collecting abwortent, lint-free ‘rags to wipe mistakes off your painting. Paper towels of old newspapers fa Lot cheaper thom paper towels} are essential for wiping your brush after rinsing it im turpentine. Furniture. Be sure ws have a comfortable chair os couch for your madel. Not many people have the ‘stamina to stand for hours white they're heing painted! If you're working at an easel, you're peobably stand- ing while the model sits or sprawls—which means the model is below your eye evel, That's why profes- ‘sional portrait and figure painters generally have a model sland. This is just a sturdy sooden platform or Toon about a8 high as your knee and big enough to-ac- commodule a large chair or even @ small couch. I Yyou'ne handy with tools, you can buile i yourself. (Of ‘soune, you can always ‘ork sitling down!) Another Useful piece of equipment is a folding screen on which ‘yoru can huang picers of colored cloth—which may be nothing more than old bankets—to create different background tones, Lighting. If your studio or workroom has big: win- dows or a skylight, that may be all the light vou need Most professionals really prefer natural light. If you eed fo tense the natural light in the room. ckon't buy Photographic floodlights; they'te too hot and prodece too much glare. Oniinary Ror lamps, tabletop lamps, ‘of those hinged lamps used by architects will give you softer, more “natural” light. If you have Muorescent lights, make sure that the tubes arc “warm white.” 17 ‘Step 1. A good way to start any portrait is 10 ‘cover the white canvas sith a tone. Against this tone the lights of the face will staed oct meee clearly, and you'll find it easier to decide how dark to: make the darks. This portrait begins with a mixture of raw umber and ultramarine ue thinned with lots of rurpentine and rubbed ver the canvas with a rag. I's not important for thetone to be smoot actually, the tone is mone teresting if i's rough and iregatar. The area of the face bs lightened with a clean rag that re- ‘moves most of the tone. but not all of it, A ‘senall bristle beuch picks up the kame mixture of raw umber and ultrasarine bhie—ditated ‘ith somewhat less trpentine—and sketches the ‘outer shape of the head and hair. A vertical cen- ter ine is drawn down the middle of the face to help locate the features. on either side of the ling. The bush establishes the location of the eyes, nose, and mouth with a few boetrontal Hines, making no attempt to draw the sctual stapes of these features. The sketch is com- pleted with several bread strokes for the shoul- ders and the collar. ‘Step 2. Mowe wlvamarine blur bi added 10 darken the original mixture, which is still di- luted only with tarpeatine. A. small bristle brush draws the shadows on the sides of the brow, cheek, jaw, chin, nose, and lips. One eye socket is filled with shadow, A round softhair brush draws the shadows under the eyelids and the dark shape of the iris. A big beistle brush Inocks in the shadow planes of the hair darkens the background with free, scrubby strokes: and darkens the swester. A rag, wropped around a finger, wipes away the light areas of the face and hair, leaving oely a faint hint of the wnder- tone applied in Step 1. This monochrome “lock-in” establishes the shapes of the face ‘and features, as well as the pastern of light and shadow, before you start lo think about color. DEMONSTRATION 1. BLOND MAN Step 3. A big brittle applies the first casual strokes of background color: cobalt blue: solt- ‘ened with raw umber and lighiened with a towch fof white. A small Bristle brush goes aver the shadows with a rich, warm mixtere of raw si: ‘enna and Venetian red, diluted with painting medium to a liquid consistency. The brush picks up aihick minture of raw umber, raw si- ‘ena, a touch of cadmium yellow, and white— ‘diluted with just a souch of painting medivm— and paints the shadow planes of the hair with shor, thick strokes. More cadmium yellow anti white are blended ino this mixtere for the lighted area of the hair, which is pained with Ccurving stokes that suggest the siner's curls. A few strokes of the cool background tone are brushed aver the sweater. More white is added {0 this tove for the eurving stroke of the shadow under the collar A single curving stroke of white suggesis the lighted edge of the collar Notice that both eye sockets are nov in shadow; but the socket on the lighted! side of the head is slightly paler than the socket on the shadow side, ‘Step 4. A large brisdle brush covers the lighoed areas of the face with broad strokes of raw um- ber. cadmium orange, and white, diluted with aiming medium to m creamy consisiency. ‘These pale strokes are placed right mex! to the shadows, but the lights and shadows are not ‘Seeded together at this stage, They're just at tones. A slightly darker version of this mis- turb—containing less white—appears on the cheek. DEMONSTRATION 1. BLOND MAN Step 5. Now some halftones begin to appear in the lower half of the face. These tones are darker than the brightly Jit forehead, but dis- tinctly lighter than the shadows, The tore on the lighted side of the face is raw umber, cadmium ‘orange. and white. The tone on the shadow side of the face is darker, containing more raw um- ber and less white. This same mixture is busied betweem the

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