PORTRAIT < PAINTING IN off WATERCOLOR Charles Reid{tales domonsralons| | fring washes and ovorashes, wets, cy Bri PORTRAIT =“ PAINTING IN WATERCOLOR Charles Reld fing out and using more than one vlue. 1 JINR ces on to show the reader how 19 pent the basle head form: the eyes, nose, mouth, and ear ight hrirand dark haley hands In general ang hands in ig these demonstrations, the reacec will Team how to use simple ght and dark washes to ind fais the shadows and nighlights that describe the features: where to l00k fr these light and dark areas {when the head fein fivee-quater, side, front, back, | Ghavim fighting stuatlons;andinow to use serathing, || feathering, ana hard ang soft edges to create textures. | Bin time he reaches the complete tul-edlor por ‘ait demonstrtionssnowing ow to paint children, ‘young men and wormen, and older men end woman the teeder has mastered the basic techniques of the Inedium and fs ready 10 Incorporate them Into SUe> ‘essfol portal painting in watercolor Jeopagn, 11181, Oa 50 Diack an wheat tions, 42 Color Plates. Index. WATSON-GUPTILL PUBLICATIONS:PORTRAIT PAINTING IN WATERCOLORPORTRAIT PAINTING IN WATERCOLOR Charles Reid WATSON-GUPTILL PUBLICATIONS /NEW YORKThis book is for Judy and Peggy and for my father, ‘who wanted me to be an artist Fat puisbas 1973 nthe Unie Sts an Cad Won Gupil Puss, chun st soars Publeatlon, ne 4585 Broednay, New Yor MY. 10038 Library of Congress Cataloging in Publication Dela aig, Coaes, 937 Porat patting water. egy {Powel 2 alec gaining Nozzon ae 7122 7243560 [istiledin he Unted Kron by Phaidon Ress i. ‘Atighie ebeves. apart ot mi puBleaben ‘ry be taprocicad owed nay orm or by a7 mams—srpni, ‘ete ormechanial, ining ptoeapyng. eco ping Brinson storage ana etceva eaters wahout ‘tan pemesion he pubicer. Feet Ping. 1979 34567 oea on 97 o5 6 94Acknowledgments Ithisbook s good, t's dueto the etons of mye tor Lois Milor and the designers of the book, Jamas Craig and Robert Fale. 'dalsolike to thank Don Hoe for hie cont od help ane encouragementContents Quick Sketch, 12°12", Fabriano ‘per. Thi is 3 very guick sketch, nol rade no atemptwhatoooer fo ‘Sel any ot oe on Ha alors the far, noes ans lerehead fo cary the pcre ft Fret shit unouches = eeain seions and alowed the shadow laezs andthe atens cfs vale tbblerdtogsther Tistyorc!skesch Ibvery goodexercse and tun todo, ‘ne neha tin aut thee Irinuoe, nave woe whethor ‘areting ike this wil comes of rot doit ang put aside arc start ‘again Lar ilo good Keep Fite falure | ust trnit over and ‘werent eter se. (easel thinet'sgoodtor any tat to werk tia way. helps you cid rearing your work and fesing that's co precious. Ard think’ geod te avoid judging [ctuenght aw Doapaining and uri aice. You eye wil be much fresher ae. Introduction, 10 Materials, 12 ‘The Hoad 1. Hed in Three-Quarter Liohting, 18 2) Head in Side Lighting, 20 3. Head in Feomt Lighting, 24 4. Head in Back Lighting, 20, 5, Head in Fim Lighting, 34 8. Basie Head Form, 38 ‘The Features 7. Eyes, 44 8 Nowe, 50 8 Mou, $6 10. Ears, 60 ‘The Hale 11 Light Hair, 82 12. Dark Heir, 36 The Hands 13, 14, Basic Hands, 94 Hands in Detail 98 Portraits in Black and White 15, 16. ir 18 19. ils, 104 ‘Young Woman, 108 ‘Young Man, 115 ier Man with Beard, 121 Dark Complexion, 126 Portraits in Color 20. Solacting Color, 194 21. Mixing Color, 136 22. Giftwith Hesdoand, 138 28. Oriental Child, 141 24. ‘Bearded Lobsieiman, 144 2. Child in Sunigr, 147 28. Full Figure, 150, Bibliography, 163 Index, 155Introduction 10. PORTRAIT PAINTING WATERCOLOR Forme, watercolorisa spontaneous and sugges tivo medium, and ind usingitan excng adver ve heard several “yin” about painting wan ‘watercolor, and esagree with hem al. Forex ‘ample, I've heard it said that you can't mako acy ‘corrections or changes wth this medium—that you haveto’0e "ight he rs! time,Thisjustisntiruel ye ound hat my corrections and changes often "make" apaining, and nope you'l see for your ‘sell what Imean.as you flow he demonstrations in tris book ‘Another misconception about this medium is thatit's much hardor to paint people than to paint ‘ther subjects with watercolor. Again, I isagree! ‘watercolors deat ‘or spontaneous, informal or- teal, ang t's eerainy possible to paint highly “tnishos" potas with watercolor. 'd rather go tociloracryictormy “orm” portraits, ut tis avery personal preference. simply fndit helpful ‘and interesting to switch back and forth botwoen watercolor and ol "can tates enough he mportanee of knowing howto aw botore you learn how to pain pr tails. Drawing is beyond the scope ofthis book, Dut inthe Biblography Ive Hsted several tine ‘books on drawing heads, hands, and figures, which you might wentto study i you have doubts about your drawing Fortne demonetratons inthistbook, ve painted ‘each stop ana separate sheet of paper—to make tho "lessons" as cloar as possibie-s0 you'lprob- ably fine minor variaions as you progress from ‘one tusiation fo the next. think hesestight- ferences rom one step to another shouldactualy Denelptultoyou. Teylishow youtnat watercolor is anything but an exact science, and that each painting ie anew experience! plan my comoes'- ions caretuly, an begin with accurate dravangs, but | ont use any exact system once | tart to paint, like tinge to just happen, For mo, this approach creates the excitement and adventure that are so much apart ot painting ‘ith watereter. In te folowing demonstrations, | hope you'll share this sense ot adventure with me.Materials ‘Abul only unplessantaspect of painting with \walorale ie gong out tothe art store buy the necessary materials. Good watercolor brushos, oper and oolrs are very expensive. The omy ‘hing leaneay about hsis hat good materilsare an excellent investment, Ty 10 steel yoursot [qoinet he expense, knowing that you just can't ‘40 your best work if you use poor materials Brushes ‘There are two main tyes of brushes, oxhair and sable ‘Onair brushes don't form the fine point that's necessary oc the important detall workin paint inganead, or example. Onthe other hang, an o*- hairorushwouldbe fine forthe early demonsira- tions inthis book, while you're just becoming familar with he gereraltechriquesof watercolor painting, ‘Sable brushes aa the best, but they Corne in varying qualities. You should buy as good a brush as you can possibi afford. The thee sable russ | suggest are a 1” fat, a Number TO round, and asin, Number3 of Number 4 round. The numbering of rushes sams 1 afer trom ‘one manufacturer to another. Fr example, the Winsor & Newton Number B is approximately the some size asthe Grumbacher Number 10; the smaller sizes difer corcespondingly. Investigate the diterences yourselt, and choose the brushes you fee! moet comfortable with I's very aificut to do 2 goes painting with a brush ints become tied and soggy, s2 you should alway try to use one that comes agoad point. Save your old brushes for backgroundareas land use your good brushes for precision work Paper think goo watercolor paner is ery important. By * good,” |meana paper thas airy soll ard ab- sotbent, Gheaper papers tenota be are, ctten ce pelthe paint, andsometimes seem wehavean city flr tat doesn't realy take the color well, But again, youcan cerainly use a cheaper paper unt ou nave @ good idea af now watercolor works. When you use expensive paper, you may find thalyou'reattado t—inatyou don want win it-and this may maks or vary tentative and timid feet, Try ta aocept the fact natyou are going to ruin sere very good paper and that's just part of learning to paint Whenever you can, work on both sides ofa sheet of watercolor paper (apparentiy ‘thera aright and a wrong side, but I've never found out which is which). ‘Wercolor paper comes in various weightsna textures, The taxiures run from very smeoth calles hot pressed, to rougher textures, called cole posse (moderately ivogular) and rough (ich means realy rough). 'd suggest that you usesataly smooth texura ke hot-pressed, a ‘taugh later on you shoule experiment wih both raughand srocth paper and see which you resly like best. Hatpressed, coc-pressed, and rough papers ‘comin weights unring rom the very ight 7216 {othemedium went 140 Ib. tothe very heavy 300 1b. The weight of a particular paper means the rumier of pounds that a eam (S00 sheets) hat ‘papor weighs. The pager is normally the standard Imperial siza—22" x20". The 72 b papers really toothinanc light forwaterootr work, uriess you don'tplan tomake ary mistakes. Teheawer pa ‘per, such as 140, or—even better—90010 takes‘move punishment. The 20 b. papers especially ‘ocd to use. You tindyou can rake athe cor- rections you wanton without fear ofits buck ling—bocering wavy. Paintbox and Palette Since youl probably do mest of your watercolor ‘work indoors doesn’ aly matter wat you carry your pains andirusesin. However, ash ema’ tale box ara carpenter's tool box ‘makesaveryhandy container for allot your equip ment Both ypes of boxes have smell compat: ments tha are excellent for holding paint tubes anclorsnes, andthe large comoartment beneath isagood pace for your palette and water con- fair. suggest that you buy a plastic tol box ‘because tor Trust. You'l probably find agood fone at your local descount house. |usan enaral butebor'stray whan work in my stugio and a folding motal palette when | work ‘away rommy studio. The butcher's ray makesan ‘excalent tus paete. thas. large.area or mix ing washes, and itlacs forever. you buy a folding palette, be sureithasalarge enough mixing area ‘and plenty of room tor your colors around the edge. Con’ buy a palette that has ready mace cakes of cry ooloron buy onethat’s mean for tube colors. And don't buy aplastic one. They Contlast anit’ iu to mb pigment ana water on tmem, \veneverused an sasettormy watercolo pint ing, because tind them more trouble than they 1@ worth. An easels just one more thing to cary and, vihen im carting rounda drawing board, paper, and a paintbos, | aleady nave plenty to cary. In ny udio, luse wo flding chairs asmy easel. sit ‘none, sete other opposite me, prop my craw ingboardagainstthe back oft and use he seat to hod my plete, brushes and water jar. When | work outside, | usualy prop my board against a handy rock or simply set on the ground and reel in front of ‘Some artists prefer to sit in a cha and place thet paper and board on the loor in tonto them, The advantage of panting in this postion —30 tar trom the paper—is tat you can't realy “tighten up" on your work, you've got to swing your arm ‘andyoutenate bemuch eer with your painting, lHyou'reworengina sto, Td suggest that you sean adjustable drawing table—cone that you can fixina hrizental postion when you want paint standing upandadjustall he way tovertcal when ‘you wart 0 at and pit “Try 10 find the place and the panting postion mest comieriabefor you. As you become mare n= volved with watercolor painting, you' certainly de velop your own method of placing your drawing board and paper Colors 11190 ino @ complete aiscussion of eotor in the chapterson Selecting Color and Mixing Color. For the black and while projec in this book, you should buy ether ivory Diack or Payne's gray. ‘hen you buy mese-and al of your colore—| ‘suggest that you buy tube pains, rather than dry cakes of color. Peraps this aso fas into the realmot personal preterance—itray be quitepes- sibla todo excolent paintings with cake colors— entre. 4°x6", sto paper. | ook advantage of the nardsurtace ore Best paper to crest some speci tstectsrere. For example, nots ie very high-eyed fasianason under tne nose, Tis was ong mach ar ut eregpedsome water motne shadow ond Ineteac ot doscring te nose wit he us! dak ‘aus | ndeated 9 presence by leasing he hard Boundaries srounatne cast sow, Whe hear wos 01 we, |letea 4 wth a tame o create oxtre. | Suggesied ne swaater and, a8 te aon died, | ‘cliched out some texaue wa ry ingerna. | a8 ‘seam tiger 1 atthe mouth and eeate a very MATERIALS 19but think youttingit much easier to putthe right ‘smaunto color on your alee when you use sat tube color. And be sue that you buy transparent watercolor pants, not gouache, Gouache i opaque watercole, anditcan t beuses tr tans- tent watecotor painting. Miscellaneous Your crawing board ehauld be tay stoady and should provide a good, solid surtace to gaint on. ‘As mentioned eae, often work with my boare ‘mavertca poston, although ve haar that his ‘considered very unusual. Wet washes run wien thetoardisverical, andIthin you'll see many of ‘hese “runs” inthe ilustraionsin his book. idon't ‘ina running” bothersome, bt pethaps you wil {ane it might be better for you to work with your ‘oar in a horizontal or diagonal postion. ‘When igo toa sketch cass or work inmy house, ‘cary aay smal draing board—itherastand- ard, commercial pine rang boardora piace of Masonite or pywood—sbout 16" x20". Pushpins don't penetrate Masonite, but you can cary arole of masking ape atach your pape othe board. latweyshave knead eraser, pencils, nda ‘azor Dace in my box. An eraser should be used very caelully, Never useahara office ype exasor and, even when you use a sof eraser such 38 2 kneaded, becaretulnattoaverdoyourcorractions Ityousorape te sutace oF he paper. twilbe ‘comme rough, it won't noid the pant as well as it shoud, and the rough texture of the erases area vl show through your paint Usea 28 offcepencil. I's aly sft, but not too so Hard pencils tendo aig up he paper and, s- {hough they make very rice light tines, think you'll find yourset bearing down as you try to develop yeu drawings Very ott pencils, such 9s 48 0°68, ‘erdto leave very dark nes that become bot fersome at the painting stage Razor blades are vary usetul for soratching out light atess when a painting is dry, You can alto use razor tades fo soraich out when your paiting is ‘wat, but be caretulnatto cig upthe pap. also possibe to overuserazorbiades ancvina paint ing, Just fw highlights are necessary in any painting, and too much scratching oxt wil create 8 very unpleasant, "too busy" etlect algo use he tip ot my brush handle and my tn gama toseratch outlghtlines whlewashes are Sill wel, | think you'l aotos that Ive used both these methoos to seratch out anes otra In some of the demonstrations, Forwater containers, use plastic jars—the kind that margarine comes in, They fit nicely into my paintbor and they dont break. An Army canteen and matching cup also make a very ood water carrer and container use pushpinso attach my paper tomy craving bboaré—unlessI'musing aMasonte board. In that case, Ikeepa rellot1” masking ape handy to fas ‘en my paper to ihe boar. Finally, | always cary a box of facial tisues. ‘Toyo extremly helptul in many ways. They're excellent for bioting Brushes and for blotting ‘areas of paintings that are too wet and ate geting ‘ut of contol, | ato use them to scrub out mis: lakes and to soften edges that have become foo hard | think facial tissues ate a necasaty in any \walercole i, bul you may find tht paper towels ‘work just a well.Standing Gi. 4x Bistl paper Asyoucanseehera, ts posiieta pant poneat wthout realy homing te ace. You can imply ‘aoture the subject's parteular atta. m sure you've seen Semeone wating down the sree ‘nd icon who rat person nas tore you could realy see any Fears, Aiiue isa veryimportant fatal poral and yousnouldiry tocapute bic as wel as thospecitc feats, The Head1 Head in Three-Quarter Lighting 16. PoRTRArT PARTING i WATERCOLOR In he ive demonstrations that follow, you'l be us ing just two values—one ight and one darker—10 representighisandshadows on ahighy mph fod head form. Natural, you woe't always have such simple value problems: many of the heads youpaintwil einai compicatad anc atused lighting stuations. Even inthese simpleexercises, however remember hat he esis 2 soi, c9- shapediorm, andbe sue that allot your shadows incieate Ws. Laleron. nthe sixth demonstation, welinto- ‘duceathicd vate, oraltone. Bu, nthe bedi ring, emerber that simple shadow shapes can be your best frends and, whenever possible, pose your model under a singe, lary detinte igh Source. A single igh source wal develop the ‘Simple shadow shapes I'l be talking about Inthis demonstration, we'lassume thatthe lant ‘coming tom the et, so the shacow wil be on the ight side ofthe face. For our purposes. the ‘igh’ side ofthe face wil alvays mean your right and let” illawaysmean yourleft.Asyou sketch eutinesin pencil remember thatthe penct lines are justa general uide. Get useoto working Droacty anc rely with your brushstrokes, anc don't ty 1 ll the cutie caret ‘Asyouprepareyour washes, squeezeagonet- ‘us supply of black paint onto your palate, Dont besingy-aive ourselencugh pnt io co many practee heads the pain cries betwoon ses- ‘ions, you can dampen i with water fo make it ‘workable again. Tomake your pigment igh, dip yourbrushinto the water supply and shakeitto get ‘igotthe excoss water. Then ap hebrush nto he ‘edge ofthe le of pigment on your palette anc ‘rae some tine pant out onto he workingarea olthepalete Werk the dampened brush athe pigment together to make a "puddle." ft judi si too dark, dp your brush back nto the water supply. shake it and workitinto the pudale again. Forthis exorcise. youllneeda good sablewa- tercolo beh that "pots wel: a Number 8 oF [Nurrber9 wlbetine. You'talso need apalete, 8 ator jar a tube of ory black, an HB, 24, or 26 pencil aGrawing beard, and pushpins. For paper, ‘se a good quaity no pressed watercolor paper wih not too much texture, The size ofthe paper Isnt very important. You can cut a fil sheet into ‘ight pieces, and you can use both ses t's faity Reavy—at ast 140 fos. Romero: to wait ‘ntl heist atlemptis dey betoe you work on he other side. Wien you'e ready to begin Step 1, pin your par perto yourboard, pace apushipninesch corner, and sel your palette and water suppl in aconvon lentplace. Youcen work standing, wth the bod held horzontally, or you can sit with your board held at an angle.‘Twee-quatr Lighting: Step 1 eh your perc setchinasmole ova about or Shih Dont abor ‘veri, Nex sqeezosone blackpaint on youre ete. ans, ase areacy oasis. make ty iant ath ssl noel dart nan Pe white pape. {tan nth alae brush, make broad stokes mtn ta al Don worry if eome soko go ote he penstautine. ‘Three-qutter Lighting: Stop 2 Afow heist washto dy Thence your brush inte water give to sake rd ga cack o your pl of ack pigment This me, ‘rake amuchearer puddetran tmavaue youusean Slop tue enough aster oeen romana re ‘ack, Wit one oto good. dete sakes. pant 3 tiv about T" wide down he entre right (yur vi) fide ote aos, ‘Three-quarter Lighting: Step 3. Nowtor aver simple {rcexon othe aye on he shaw ideo he face ‘Theshacow stp yoo mace Step souls we Loeatte shunt heme dkms, sorting Bsoa.ta ha othe way dwn the dare stip, eke 9 horioraljg cute the “lca,” stopping whan Year dnc toe mid. You have now inetee Ine tad ander th eyebrow‘Three-quarter Lighting: Slop 4. Next isthe shadow {Sde othe nose. You probably have encugh pant on yourbnsh,sorioading shoulde be necessary Start Ing where you et off wih the eye indication, make a wna sake tha ans sighly toward the ight ‘Te nese becomes broader toward hei, and te ‘shedoweroudwider hore tore this. All ncees for buliersmaketisone about ora the lenght ‘ha ace 18 PORTRAT PANTING WATERCOLOR ‘Three quarter Lighting: Step 5. Reload your brush ‘tnt sare value. Grea shake fo rersove excess pas etre you go back to the paper Fron the end {of your ast sre, make a very srt jog dowaware ‘2nd to the let Ths indicates the botem plane ot Tre nose. Now make a dagonal, cowewatd svcke to he nent, to connec the Gotom pare ih tho main shadow stoke you race In Stop 2 ‘Tree quarter Lighting: Step 6. The mouths just stonothaltwaybetween teose ore ea, loser tottenoue Stung wheretbe connecting stoke you ust mace meats the man shacom. make & Ponzontl Soke othelet. The lena ofthis sroke depends on howwideyouwanttomake the moulh ithe ence he Stok, ress down en your brush fo make the sroko ‘seer Than it your bush ety othe pape.“Twee-quarier Lighting: Slop 7. Now canes the tasow ure in ip. stating back atthe in ‘Eratew,betw the mou ene eg rake sep fae, curing sroke oie the wrest cl the Tower The sxe not aslong ate moun insea- ‘Three-quarter Lighting: Sep To wrap this uo. nh calothessooreyetermuth acho Ll soke aae lets tela, oppose the rel oye shadow. Nake ts averse soc atone no on attempt at eet eye, ot. Inivellsteion, tv ages the a1, 1omeko he head more complete Youean back Inthe oarantraiet sce ol thetace wih one atok=o! your ight wash. As tho fnshing euch, you can Takcone oto enodow vectors fre darko igh ffm, ancwe're cont.2 Head in Side Lighting ur est demorsuaton was concerned with the rmosteormanighing sation Mesteommecil ora aries use tvee-quarerontng. THe Gest mean, however, that three-quarter isthe beet end mast desirable ighling vation. Each liguingstuaicn nasi ew pariouar ers. ne wl exlore these as we get deeperintothe sue ect of painting ports. In his demonstration we'll dea th scelight ing the ease of ale various ghingstutions {o represent. Side ightng creates tower shadow shapes ina three-quarter ighting and doess'te- ‘quire themes susievalueenanges that ar nec- ‘esa front, back, and rin ightng Forthisxosse you nees hosamematerials thatyou usd nthe demonstration, eluding the fay smooth, eood quality watercolor paper, Prrapece ot papero yourboare nthe evous. emensiaton, | suggested cutting 2 fl sheet of oper into Sight prs, so mis piece should be roughly 6x8") I yoU fee more confident wih a pen guide, ‘ugh in an oval about 5* high before beginning ‘Step 1. Youghal tna rapt tomar vey Sohity wna Nua 2 pone he positon ofthe ‘es, nose tp, and mouth. Remember that your one eetores chou be only he roughest vido lerthebauth Since youare notpaintng shadows, nazar ead, doesntmaterl you make tmenosetootong othe chin oo shor. You'oet- tay makepenciskeiches inthe more advanced exerses, bu re wih very Simpl ovale, they ‘en’ rsky necessary To begin ropare alight wash rom the Wary ‘accandvrater you havea pe of dies pant on your plot the pete tin water fora few rrinuls, th te pant atlas pail eu rege, Thisnoulssaten kuprielyane make \werkable. Cherise, squeeze out afresh pile of ‘ant Remember, you ea'tjusge he value of ho ‘wash on you palate unl you are qu expei- ‘enced, o's good idea io havea separate pieoe ‘ol paper tary fo test your washes. Keepin ind ‘aeothat your wash wil ry ighter~sodon'tnake your pd to a‘Side Lighting Ste 1, ter nisng tap ondator into fal igtvale iaayout bush tomthe puss srdgvetlagpodehaia ruchinanora, velngbroa, freostoxes on tworry ita wasn toven some bensrinyberhor than othe, itd rater (Attepeintyouemaaoindeatebet ees ih ‘Srl econ) Let he wa oy Side Lighting: Step 2. Sow prepare a shadow wash thatsmachdrkerhan heh wash bl more gmt asa bt ace wate Mantas a wel ces bush, ave ite good sake. and wart iachng ine fered araa on We right win 9 cours, agonal stk that goos about enw oho ay down the tenth ef te ace and covers about one ote wah. Then, mete avery shoregte allt todeseroe {te general consbucton ct In nose bie whee ‘rows he eyebrow ‘Side Lighting: Step 3. Now comes ne ode, Reload yourbnsh ani, he rose ecg rie alagons "rote tothe rg abou one-the! he lng of ho eas Attn make another very shart analog in ‘tocppastecrectin, Todezcrbe he tion plane! the ree, uso ti drier value fo Mets Ine con Shadow Gee gh ao he fc0, HeAOINSDE LOHTING 21‘Side Lighting: Stop 4 Now or hear above the ‘rou Starting tne betom pane ofthe oso, makes ‘Sago tote ng ust en you serine nose fa forenebc ut tte mae very S20" Sy, tout rataneaelergin. You Tenow ane mout, anda veryshetogtonara youre winds tun forse of re upp Up. Note tna ve Wad ny ‘Shacowaah olentthen he shadow along ght ‘deo a ne, ‘Side Lighting: Stop 8. The lowe ip comas nox righ wl catching sere ight, so cut back your Tru iothe rights uncer Te Uppet ht Ieaveaight rs, Then asbadow Unc the wer Fw a sort agonal stoke o you et. ine mate a simple tke ha cuwves outward io the ght the boc ona the bulge ete chin Side Lighting: Sep 6. For you feising touches ‘Showiestatow aca nthelltearandeye, beet Botan te nose ad he et comme of te mah Fotetnatttovesmehanacowsreasareftemor6thay largedois Nee ro atimattone accurate wihinese stapes Alyouwant al nepohisagenerststn, (gre an oe ola srg saloon headgrt varying coaies.3 Head in Front Lighting Front ging is cific to represent, because oes not create simple shadow shapes to clearly show the ceretuction of head Instead of reiying fon smpe shadow shapes, we must describe the ad wth ara shadow shapes and aftones. or thavalves which le between Ights and shadows, Hafones require much more subtle treatment than the simple statements of ight and shadow ‘which you made i the fit two demonstrations. Howover, since we're sil dealing with very basic need forms, well ely as much 3s possible ‘onthesiral shadow shapes andkeep our useo! hatonesto.a minum. Later, whan we'eIn- voNed wth mare "fished" heads, hattones wil pay a much larger par; but, for now, wl say \winbasicsand develop asknple, solid head with ‘srl shecow shapes. Fotis exercise, sick wit the the materials you've bean using, Youll also nooda box tts uss. Pina new pice o paper to your board. We ‘eaue that ne igh & coming fom tho fen ane Blighty above tha head, so there be shadows on boththerighranc lr sdeplanes, as wo asunder the featres. Front Lighting: Step 1. By nom you should be more ‘top at pairing sme oval 20 peel use ‘Pour rely be noceaery Squeeze ou a eal Frreurot he tack pigment rox pusdl i Tight ‘soa anammteasimpe evel shape aboa Shah. A bow tte dyent nt: se 2: yur ta w-wh deans Notice howihecantours the shadow lonine shapeot hetoreheed Work broadly, butheep imag ne placament ad shapes oe frees fen, eek, and cn as you werk those areas Frontighting Step 3. Now, ropatthosarra prove. Ihesure shadow shapes on Boh sles cl Me head Later youl soeratheside planes ote face usuahy the sare shadow shapes, FrontLighting: Sep. Now somo the botom panes he eebiows, nave, ara mouth. These ae nt Drminentntrontighing os the are norte Ing butte est qutecetinte String one tc ‘ne way oun ear ace shagow {ve sated onthe let) rake aborizarialarewe recy across ihe face ‘ops scr of te hallway pon, ahd make a Son reg downsFrontLightng:Step§.fizz=outyourbeishancovet ‘a guodnake Pass the comes beh dower tough ‘neevoksyounaosinstop ste neatetne ise ot ne ee Front Lighting Step. Repeat Stops and. starting tomineshadowonthecshesieattetace. Ob ‘ust te ojasare mach more cempicstaran ths bvvve ads goostin niseatng he setae oie eyoat ana soe Front Lighting: Step 7. With one stoke. ake @ Step, dk tengo’ shape sou! tts the wey cow tnecertrot ihe faa, Tisinestthe a. ‘om plano of he noeFront Lighting: Step 8. The oper ip has a delnke —FrontLighing Stop 8. Oui bit Pewholecenler Front Lighing: Step 10. To ish akea shorstoke Shue ar ca realy be shown wih a sinpleine selon of themout wi ass ot nce met, ‘ross te face To nate the mow sorts ft ‘eeton tote ser mnie nett raroner me Srecty othe paper HEROIN FRONT UGHTNG 27doe, 1010" Fabio poper-The sagining ‘Srovery goo ens. wep nguay Me ‘rsa ovrnead ian rtywen! ovr ‘rataming my shacbn to beoume Sued ata et tang on rte ina uceaaus te ery the pete te nll wash wri orualy use 10 ase my gate, very hgh key. Teaeoath= gt washed on, col etect thal te sta Nacescent gis prods, ‘Standing Figure, (gh) 8x10" Fabre pape. {teeoaee be Saad ol inorst me a8 much a5 PS rw he igh ced wien atch Pe ihetigrawadbackgyound nein shadow, ana youcon eters ean! igh tke oan m ahooginevouosntnovacigiow are ‘mn ater ianreweuese ates oes ne ane ote sare color leno exzarimercing wih ‘hae Mvp ae Values hen! wore tert |aometmes make (ie tur shes sun fl. expen vl ‘eaing vous be way corer4 Head in Back Lighting ‘When the light source is somewnere behing tho ‘head, hesitation called back ighting. With the lightat the ign side, and only sighty behind the hnead, the shadow patter s similar to that in ‘Sketch. the ight imostafrectiybehind he head out lighty off to the right, the Nea looks ‘somethingtkeSketchB, When thelightis dvecty behing tne head, there isa simple, dark shout witht or no light showing, asin Sketch C. {QWeIl ciscuss Fi lighting inthe next exorcise.) Forth exerci, we'lassume tal the head is lighted asin Sketch A, with the ight on the right ‘ide andonlysightiy behind the head. In this hack lighting station, most ofthe face remains in shadow these shadow shapes are quite descrip- the of the head as well as rather simple to paint ‘Asyourxalight wash, and then amuch darker shadow wach fr this exercise, remember to check ‘yur values on another piece of paper. This way. {yeu won't overwork the washes on your painting by restating valves. Aso, remember to dip your Drushin your water supply and give ashe be- foreyou load twithanew value—in this case, your shacow value, Moke your strokes decisive and broad ana blook in yourstiadows fan quicty, 90 thal you'l be able to soln and "grade" certain ‘areas. You'l cee what | mean as we go along. ‘Again, you'll use your ivory back, a Number 8 brush, ajar of clean water, your shaets of good qual, fairly emootn watercolor paper, a palette, puspins and drawing board, anda Number Zot fice pani, ‘This shadow patem oceurswnentheligntisat ‘ne rghit side and only eighty Bae ne heed When the ight lst rect behind the ead sigh ott he rig the sracowe Teck ti C. Het, thagtisaretiybeniatne nead. at Simple, dark siovelef create 13 PORTRATT PARTINGIN WATERCOLORBack Lighting: Step 1.Paint fay igh oval, about 6” igh elusing one coor each ea Alow to de Tren wi your pene, make aline cross the face abouttoneshedofite way down The iste ine ofthe ‘yes Drecty under, drawa tianguarshope fr ne ‘coe Notethathe sdascfthistnangle are made up ot two curving Ie, and ta he bot fs tout {hrds othe way downthe ace InieteInemouth eth line alvay Beton tho Bator of te Wang anc ‘he Donor ate Peas orm. Back Lighting: Step2. Wiha dark shadow wash. stat Docking the shadow shapes. (usualy start blocking soul wo ids othe wey across he foretead, on he "ator ghee atthe ace yor you Dlockinine ‘Shadow onthe torehead, confine ho rcke own On ‘heright, makings dareshape sid nenoce te nat ‘ate hal pvt ofthe eye socket on tis ide sin ‘Shadow, The opplane ofthe cheek a probably catch ‘ng some lg, 20 narrow your soko in fwars the ‘ose ard lave his area untouched by shadow was. ‘Broaden again othe bottom plane ofthe cheek. Then arom you Stoke and cureiltothe ightfor the area ‘ove the uperlip~around te rounded thvstot ine teeth—whiens probably also eatching ght. Curve yoursvokenwodand donnwardiowardtnachinina Ege, trced Ine. ‘Back Lighting: Stop 3. Biockin the shadows niet: cent? section leaving ight sip about X" wide along theletboundaryotthe rece Wiorcqulcly anamaesin thastadows,startnguihtnforenead and tne on ot thenoee. Flin helt sige othe nose working down ‘aide ip ardmakoa smal jogtthe ht when yeu gal there. Then, oughly ndiate The contours of ‘Boupper andioweripeanaine curve ote cin. Don't ‘wor these cerfours aren correct. The soul be just ecaimie of atace‘Back Lighting: Step 4. Now araw he shadow wash ‘utlrhetowardin lt of he ed. You should fave onough pant an watarin your Brush Yo do ths ‘wehout ging backtote pan suppl on yourpaletie Draws shadow igh outtothe edge ofthe headand Indate he contou of ho 92 2 PORTRAT PAINTING I WATERCOLOR BackLighting: Step. Now to suggest elected ight ‘wth the shadow. The shadow snoul tl be wet for thestep, Ringe your brs in your wale suppy and helt vera good ehakasto make tjusi damp. Then San a owner 2gzag soko atthe 109 of he ght Strpontne over etsde tina hoad (See the sketch atthe nghton ths page) Alow the shacow wast to flow outin aight igbter value along the sip, This latter areesuggesaretiectedightand gvestnehese a foskngotodkanditvescdmnsona fom. Youmgat have torepoai tis process several bes, anc the area ‘of retctod ight il pocore ghee and ight wth ‘each otyouravckes. Romombe thal you'feusing Your ‘ruth as waponge: you're no tong puting paint on, youre keg pan of “To suggest relented gh within the shadow, place a amp Eros a he 109 the ight sip a the et, and ‘Stow he run sonnwara in 29206 stoke. Beck Lighting. (oh) #°x10°, Fabriano paper. This rredeluae ting ontolawindow ancmos cl tho gn was somng fom Beit. However, he ight Was soatong Int here wasa grea! deal otreleted tgntin the oom, arc showed ths wth vary high Kayed shadows Only he checkbore arte sige o 9 ye ‘teralfectacy height ut Iehested abi enaseded ‘ene tick sectons onthe ose and above the ‘mouth tora he frm mers ntresing, There's alsa {Svar ny spo! of ight an he fower tp. Alrough | Inoeated he very sue darkeringin the moun area, 1's ese lght-stuck socions ofthe mouth tat ‘ctalyspow mats tare5 Head in Rim Lighting ‘34. PORTRATT PAINTING I WATERCOLOR ‘The difernces between backlighting and rim lighting are very subtle, and the effecis of boty ligating stuntons are quite simiar. When theres. allest one ighteninanoheadanda secondary light coming Irom one or Both sides ofthe hea, \we sea definiterim of ightaround the border of the catk shadow. This secondary lignt brings out subilevalus changosin thafront tthe face, and thepzobiem of shadows becomes more compl- ‘cated, nthe sketch below, notice how much fom \wesee when here are two lights benind and one ‘on ether sie ofthe nead. Inthiscaso—and whenever you're tying to de termine tne overl,r big shadow valuo—sauint ‘as youlookat the subject. When you use this rick, ‘ne complcsies small forms disappear and you ‘see eb, simpie shape ofa dark snovette with Alightrinaround it, One othe greatest problems students haves seeing too much, rather than too Ite, Pemaps | could say that a student sees 100 mary ofthe “wrong! things—too many of the ‘unimportant det, Forthis exercise, wellusetherimlightingstu- aon inthe skeicn—with two lights behind, and ‘neon athe sider the head. Don't worry about al tho sal forms you might see inthe shadow ‘hat covers the front ofthe face. You'l need the ‘are matetats you've been using: ivory black, a ‘Numoer8 watercolor brush, peces of good qual ity tay smooth watercolor paper, water jar and ‘wale, pustpine and crawing board ‘Winer hee fat eat one gh behing he head anda secondary ight coring from one or both ies ofthe nea, wo ee ar ging pen ‘arta reFimLightng: Step 1. Youshould beable paint he ‘ist gh-vlued vl wiht an eutine, sogenct work ‘ent necessary before you start pang. Maca fay {ghiwesh onyour palate and panta srmpiooval about thigh Now. meke wo shor, diagonal stokes about a ‘tirdot meu downtnonesdte ncoatethe ears A Tow waa fo oy. im Lighting: Stop 2. Nox up a darker wash on your Pet sng roc the ack gman, te tna with lesswater Give your Busha goodsnakearieceaning {inthe water sopply, ang shake sgainaier leasing ‘tomihe carer pti As ve aleady dacveted, most che tacetcasimpla dark value so, begrning about 16" rom tata of height eval, stat Bock in the shadows Work beady. makrg bold stokes, fist fdowraard ntnecante, thon branching theses. im Lighting: Step3. Tyo weal an ough in fa the constuction Ihe eye eodkets ang chews ones youblack nts area Ba you workout toware ‘hesice boundaries he sao, remember that hey ‘othe boundaries o he ton lane of tne face an ‘oupty eeale those contours Nex, block n the ‘ado coco ofboth eas lavang atmo ht YOu Shougnowhavoarmflignlcompletaly surourding HEAD IVA LIHING 35imLighting: Step 4. lets ttont plane shadow is sillweh ingeout yourbrueh gveite good shake, ard ste solenng sore ole boundaries between ihe ‘shadow end re ight im with ngzagstckes. Where ‘you alten an edge realy Gepends onthe parler ead andthe ext postiono! els behinaand be- Sei nINs demotion ve solenadal thebet ‘emand sae lanes bli sony an arbety d= Son, When you're painting an actual head, cbserve twharethe chacowson ieee ome soeniocottanana hee Py sppesr nrcer 8 PORTRAIT PAINTING WN WATEREOLOR Fim Lighting: Step 5, To finsh your head, slten the Inver boureary ofthe chin. The neck sops te light romveachingthisarea,leavingitinsbadow. Aeme- ‘berate ateas yousolen between the shadow and tebghrimsauld actualy apear baer than the hh ‘iy taf. Yeu can ako thom igher by bltting them lal a sus, oF by mogping nem wih clean, cam ‘bush Azatinal ouch bl! Hw elde planeca! thence wna brush at'sastdamp,notreaty wet Nake ie [eta sue roabon wo doa’ watt to compueate tre tac! Bive Head. (ight) 125412", Febrane paper. This subject ad very decal ang tovelysinones, di Ser most of my tne jst miang up the right Carlen velues ony gale Id pant he ene head wth alight wash ft andallowed ato dy before ‘ded my shan di igiing Stuaton Towever, coulis havo Use the whit paper stone 19 indcate ine igh-stuck areas. Notice hat | hare sisleathe oye, Totes usta suateiraicallon to show tracts eo,Basic Head Form 8 PORTRASTPAITING IN WATERCOLOR So‘ar, you've been panting bastchead forms with Iwo majorvelues ight and shacow, ut, when you softeneaan edge between ightand shadow, you ‘rested, of middle, valve. Becauseits sup- Posedto be avaluesomsunerebetween ight anc Shadow, this middie value is sometimes calec rations Inthis demonstration, we'e going to give mora emphasis tothe mide valug orhatone. dike to sir, however thatthe two original values ight and shacow, 2e stil ot prime importance. 1 you confuse your shadows by making themtoo light or too busy (with los of smal value changes within these sacows) ori you eluter yout lights up wit ‘values that are too dark, youl destroy the simple {erm ofthe head. Keep this in ming, and as you work on yourmiidletones, don't hem destroy your simekelighs and darks, Naturally, when you're werking with specitic, ‘mode, the shadows created wil varyin width and lerath, depencing on the contours othehhead, a \wallason your lighting situation. You won't avay’s findtnesame pater of nardand soft edges. Here, vwe'llustdo avery generalzesnead,butthe prin- ‘ple of halone we deal wh In this exerelse should be adapted for, and applied to, any head you choose to pa ‘This time, well asgume that the ligt is coming ftom above and to the ght ofthe head. You" ead your Number 8 wateroolorbrush, a palate, a ‘ube of vary back, wate jat and clean water, cesof watercolor paper, pushpins, and drawing board, Always keop saves nancy, to lighten, soten, o it out wet washes, Basle Head: Step 1-Fo'the ake of voile. we'll doa ‘von cuartor ve fad, Thi ely the same asic bra re pstat later onone ae, ile more curved ‘onthe Mx your ual ign wath andbiock nan ‘v5 hgh, sma in shape tote one utratea Don't worry too much about raking an ext zopy oF nyoable Head: Stop2. Now forthe neck Whe the fist ‘nash etiigendanc we, stat ebet 1: "in romtne hin and makearectangusr shape about" wide and Pere Beale Heat: Step 3. Mixup your shadow valuoon your fei, gating rs of excess mateute win & ‘Sale thobruc,startiockngie a oarkehe do stip ‘bout 1 widoalg the side ere aoe wnat it tothe eyoares, mate aight ogo ne ight and eon, toinaate he eye socket Thon, wn a muen tine strove (about 1" wie), coring fo olow hs lett, Boundary ott ot around tothe neck. Notice It Inistipbecomee very narow below the eye ancien ders agin at te nest Basie Head Step 4, Whilothsenscow sip sai wet, tauitouttomave ne bottom plane othe ake This asinele tangle shape, araone comer the Wiangie bores win ne saga stip,Basie Heod: Step Now, elas yourbrush rom ho sharow puddle, gue 9 shake, and move on 10 the trouth Once ago, tt athe shadow which shoul ‘Sie we, and bruh shasow shapes cui the ligharea indeste fe upper ip wina generalsracow ‘Shape sbout 1" long. The top plane ofthe lower ip Catches ight and creates @ shadow under; so dat ‘realy touch elower ip tee, butmeke ashadow un (er about "long The shadowunder thelowe Ips ‘tence wharet on he ain shadow, bt na Fewsasi pocgeds cutinto te ight are 40 PORTANT PANTING I;WATERCOLOR age ‘Boole Head Stop 6. Your shadow shouts si be wat ‘when you doi step. Dont palin any new shagows ‘ow but "Soane the ones Youhaveveth your ight ‘ron to make ahi, oc da, ao, Fr ts goeral ‘ageam leave about" attotopoltheshadow stip “hava nee your bush, gve good, hard shake, andpace inthe shadow above ne eye tw, atten {he loread by crewing your brush ouware'ana ‘Sony upirardsbout 1” ote ight area, Prepare {ourbnish agen. andsien he eae atthe tee you [srade, Rapes mis procedure uri you rave & oath gradation rem ight io shadow. A sae handy hetetobol heen of he stoke toma Hugh though and fo get cof excess water Now vse the Sime procedure on the shadow ot he check sd the lop secton o he nose se Head: Slap 7. Al ne mou, you want fo show Inattnelipe cure sreundite ental are olthe eet ‘Oneway lo dothissoighten and soften heed ot Ihetpeastve dancin myiusration. Rinse your bash ‘Shake acd draw 1 vght up through the mouth 83 ‘agonsisroke. Again you can ot hs area wih your ‘Sesve (Youlthaveto expert lth takes prac. oe. Teese times youty, you probadtywon get the atest you want so be pao) Finly,soten the adow under the mouth using te sane procedure. ‘Youshould now 20a very dente combination of hard and sot copes.Basie Hea: Step 8. Now for herighteye, Int ight area, so your shagow value te paiman ovl about 18" lorgand 1" righ. Rinse ana snake your brush and lghenthemidatesacion o: ne eye to show th nd ‘armel tne eyeal and ve ne eyeateetingo bulk. essay, tot haan cecon ara wih ate Tolgnen Note that here are nard etges on ether fic0ot re eye ancsat sages i tha miaca. Now, con ews tha rad, ight 2708 of te gat aye cow tnraugh na op pane ofthe cheek. Ths area # about 1" woe ect under be eye, built wedersas youap- ‘roach te btm plane ofthe cheek. BasicHead: Stop9. Toons yourproject,reloa0 your bush, shake out ana arting at he right corner ot themoun,makea very snot stroke upwaratowarstno ‘cho, Now, rinse YOUF Brush, give fa ry good shake, andalbwih catkareata iow upward fe show {evetom plans ofthe cheek Workin male value ‘cen nia the ower cheek, toward the upper fo. and intoth shadow towne lower ip. Ten, naa the fort eer very spy, with an oblong shave. Note tat tte eer nths dustation & quite gmt, because Ive ‘teary ssueto keep fly igh ard nim Porat Wel nory more about te eas ler. BASCHEAD FORM 4Seat Model. 1010", Fariane per. The vr ss ignng on thisheadcreatede veryrsce teeing oftukan term. Themaseinadvary far complexon, ance tones were ‘ermal 000. The shadows wore mostyoerutan be, excoptorthe nog, wich was quo warm. | cual oxoggeateatne cooines of tnoshasowsintne eyesenderound ‘homouth usias exaggerates he ‘warmth a he nose, tome te ‘aerin the head it mere ltereing, The FeaturesTretoptwostetches cleyesareincorect. Tho upper ard lowers seuld ver be drawn a Igertcal snapes. The ive toner skethes (gveyouan dea of ne variatonsinshapetoura ‘atwaen the upper and lower es. {41 PORTRAIT PAINTNG IN WATERCOLOR Intreprevious demonstrations, you studied the ‘overall construction of tna head, etrossoc the im- portance of showing thatthe head has bulk anc forma lesson that you should always keep in min. Unfortunately, howover, I's much easier to ‘ink form when you're working ona generalized head than when you're painting a speciic head. When comes ta panting the head ofa particular parson, you'll have astrong tendency to forget all ‘about overalbuk and mass and to concentrate in- stosdonthe particular features that you tink wil ‘ive you a likeness. However, a good likeness sctuslly depends ‘more on the construction of the particular head ‘hanitcoeson the small shape changes found in aneyeor mouth. Thisis@ vital point anc wish ‘caus somehow cement it soil into your mind: ‘uli's avery éiticultconceptto practice, andonly ‘through exporionce, witht tears and frustration, ‘wil you fray understand! ‘4s you stat painting particular features In this exarcoo, try to stiok withthe feeling of bulk and mass hat you've been practicing, Although you'll beputting in eyalis and eyebrows histime, cn: tinueto strive fora generalimpression of formand thvee-dimensional bulk. In this dormonstration, youll be werking on the righteye the eve on the right, rom your pont of ew) on three-quarer view ofthe head, lumi> ratedby@ singllight source rom sightly above ‘and tothe righ. ‘Asyoubegin Step 1, nolethe shape ofthe eye tvedeawn, Notice tne rather angular shape of tho lettside ofthe upper is, Remember tha he shape oftheeye's never goneral. is curves aways nave a spectc shape, depending on the particular ‘model you're using and on the position ofthe eye inrelatonto you. Aa eye wewed rom the front nat- Uraly appearstohavea diferent shape then does ‘an eyeintnree-quarer x side wew. And, most orant, member tht the upper and lower ids ever have identical shapes, They ae neverident- ‘alalronds or ovals; the upper lis normally over laps the ir, which usually seems to be “sting” ‘onthelower lig. Inthaskotcrnatthetett, vec some “good! an "bad eye shapes. ‘You'l beusing the samematerals: wory black, Nuribo: 8 waorcok: brush, 6" x8" watercalorpa- er watrjar and clean water, pushpins and craw Ina boars, Ths time, youll be making some light penelindcatons again, sohave your 28 graphite ‘perl nancy. One final point betore starting For deronstra- tion purposes, you'll be doing features by them- 295 inthe folowing projects. However, when you're actually painting a complete head, always ‘eansicer he eatursin relation io each oor and to the head 28 a whole-never by themselves.Eyes: Stop 1 Lgnty setchin an eye about 1*long a4" righatishighest oi using nesapein ry Musteton as an eames yea: Step 2. Moc up a get was, pas ove the ‘nfo ares of your dn, and iow 6 dy, Ten, ‘cup your stadow wash Eyes: tep3.Siang about W" above ne uppet ‘ne pattie ote et boundary of te we, make ‘aogonashacow sone coumwara. Note that Ive ated he ver he left bouncy ofthe ey, eres «3Eyes: Step 4 Wile your dart sil vst, bogln to sotentneecges Allow theweshtoflow cutatthanaso ‘midge toinaeatearontplane between he oppiane of ‘hersseandine top lane oft frehosd. Aco low me darter wean teow out tothe eyeballang under {telowerhd Ws rnporact that yeuon' worry aba ‘he actu Boundaries of ho ayo, but ntoad ry 0 ‘how tha ig nanes ofthe eyeball and tho ajacont 45. FORTRATPANTING WATERCOLOR yea: Step Conte oda your shadow “oun ate shadow on eupperidsinol. wit ‘ong ‘ke tru te envelengih ole upper i. St trkstok ly ut above the et gen rs rea andiostow ha! te eyeball and upper fd “core outa up" at Ne po, yes: Step 6, hie the wash fs sil wet. let and gitentheloner le or ede coma othe ye. Aer youbok yuri hota daw mote chad out 10 Teton andrestacomespocii boundary of recoret ‘othe ey. Now comes the portant ore oval lane loniherigtsdeo thee you" igh). Again, mske a ‘singe diagonal dareatoks,bogining above I up. Ber id and eooping ust below the right cornet othe ‘ye. Fealy, citer upper boundary oth éagons! ‘Stokewih scam orushand bt it necessary. You Shoudnowhave bs toaingotine contour atthe eye balEyes: Step 7. Now forthe eyo. Hopetly, tne sate: wash sil damp, ence you want t pur some Sci cages othe eyebrow Use snes! pure pigment Fete, a staal Bui thicker end of Uo eyebrow, here tnesdgershauld beso Aethweyebyow curves Sour these plane of fhe oreheud, your stoke ‘Souldbecome ghar ancthinner Here youniht ry rjrusho suggest ightaning ened thining, as wal ‘ete sggesthefextrea! he eyebeon Final lock invsinpe ovtlortne i, wth evalve youusedin Iheuppeic (hmarycase,yourspht wanttcusethe Saretaue naive areas upper le, anceye= trou) T¥e eta smal oot untouched ther, 68 8 Fehligt Aemember-nevermeke highlights tooiergs important Leave hem ou ater rangverdo ne Nojetiat sane boundaries ore shave bene n ‘tice areas and satened Mover ena hard ova het hes blew” cut ino the even paces, eepng He tisue Handy fo coal the “lee. Eyes: Step 8. The ii shoul tl be damp, Using a touche purepgment-alnostnawater"srop" the ‘ark ppl sb eeving te ighht touched. Nex, Hock ne darker sip on Pe pe KA 2 ul, the Upper iis always darker han he lowe Ed, sce Tormsatbotom pane andcasts astadow on the eye- tu (jerrakesopsthal women mighiuse shoud rot ‘concern you hee. They ate exceptions toa ui that {Susly aplies ve alto a spi curving ine as ‘geraalindeationalthetld direc above tne oye \Whenoupaita particular eye however, ge speci ‘maniontothesnape offal Final restate some (frvedararoundtnecye. Forth tnalstep, allow the previous wathos to dy so you can soe exactly wast fees more dation a restatement. Never ty fo vera nen wash over one thas st cama. Fy tal ‘shech there tein "bst” ard Youre” edges, and ‘ne ey Ras denon without icokng hax eves aricky. (2 6°10" Fbeiano paper. Ths i one ot ‘hose painting thal ir out la be quite 3gooemonoe= trent ina vt conan wna eras | fuming onthe made. Tle git at very Sette feaurec_toot/ eyes anda vy song, qullne nse. pad the hom two values, washing in the igh ‘aluetstand—aflerhe dracockingin te deer ‘ale very surly. Fly, raed the dark accents ‘sroundine yes, ich ae quite prominent When a ‘injcines pteminenteyes,F=very porantaess ‘hamand ole cher area, sich a the mouth inh ‘ave, tecome secondary. Hore, Ii he eyes ani the Saircerann he pam. Doris. Fight) 12°x12", Fabian paper. This mode hadverysrongfeatres, an found quite sete s ‘apr the tkeness. She was sting sl ncn 50 Felpada rest oa. The strength ol he partoular {eslreo every choracenticrouh anatredatinte ‘jerandeoss —mcannecton withthe simple secon ‘apes create bythe song igtng stuston made ‘he heaa gute simple 12.60,Nose 0. PORTRAIT PARTING WATERCOLOR Each feature has its onn stot paining problems, ‘and the nose is no exception. As portat painter ‘donn Singer Sargentonce commented:""A defik- tion ofa peeait is that there is something wrong vwintne nose.” Although descrbing shape accu rately wth bah, der, and mide valves prod- lemcommon'o paring alin festures,oneac- pect ol his problem is somewhat unique to panting the nose: subtle value cnanges are also ‘ecessarytalnaicate shapein he part of the nose that in tight Uke the head, the nose is made up of speci panes: those facing the tight are naturally the lignes; these turned paral auay from the ight are ati erker an tose planes tuned com Petty avay romtne ightarein shadow. As you'l ‘98, he shadow areal he noseiseasy enough to blockin, However, this ark area does~'tcom- ‘ltely explain the nose, and wemmust go out ino ‘he gh area wth mile fight values to develop the fl construction 'As you do thie, uare against making these “tight inccations too dark, oF you'l stray the format henose, 25 welias he ferm of heentie ‘ead. In hs demonstration, putin only the most ecessary mide values, No sioke shoulc be ‘rade tha st via. 'm not sure who Said it, but the satement, “i's what you leave out, not wal you putin, that counts,” ceraily applies here! ‘As yougoalong, you'talso see cases in wich righightsancaccentsare used. Thesoareaton- poste ands the value range: highlights are the Tighieslghs, ccenis aretha carkes aris, How- {ever they haveone thingin common: they should ‘oth ae Used sparingly ac with grea discretion. I's tke using salt n cooking jst the eght amount can be marvelous; 100 much, and you've ruined the dish Again, we'll use a good, strong, single ht source that makes shadow shapes obvious. We'l _asure thal the ight coming rom above and to the et. Hopetuly, you've done enough crawing 10 krawnhat shapes ooo for. Each nace ifer- or, of course, and yout have to study specific ‘subject careuly to observe the particular shapes fof her noses. Here, we havea troe-quarier view ‘ofthenose, above eyslovel,sowe soe some he ‘major tot planes, Before you begin Step 1, notice that ve sketched in the lower section the naee 2s 2 imple alin my itustraion. Using this basic oval 18 a foundation, | then deseribe the speciic shapes othe pariculr nosal'm painting. Aways ‘sia tis way, with a goneral shape, such asc Inder or anova tnon you havea point of depar tre for your spocfic shapes. “Try the following experiment and think you'l se what mean, Pretend you're looking down at ‘an umtxela, and try to draw the series of points ‘aroundtne imjs12s you would see them. think Yyou't tne teu 0 do this very accurately ‘Now, drawacrle fe and.using ns ele as a foundation dkaw he series of points, Do yousee that hs tachnique makes t much easle to crawa respectable looking umbrella? Backto tenose. Note hevariey of shapesin {he asration for Step 1. There are angles. curves, ‘and sagt nos, Always look for—and draw varely of shapes, No or is made of curves lone; there are almost alvays some angles and straight lines, toot "You'll ned your Number 6 watercolor brush, yourlube ot ory back pent, apaleto, water ar And clean water, plooes of 8" x8" watercolor pa- per, ackawing boardandpushpins, and aNumber 2 peneNose Step 1. Scene nose, using ne matnod Ibeidecuttod my ekaton ve eluded of he ‘rrooading atures, but con tory about have sor ‘oundingarea they meceyelplogie ur andes of Ihe psi of fe nose onthe ace Mole hal ve ‘sttchadin the boundaries of the btm lane of he ‘Toe. Tswl ive youn gue when you book nthe tren eth your dhe wes, oN Nove: Step 2. Now. lays wash over ie noe ane ne surrounding aca. veettone smal ator wit paper titoucsed onthe ort lane of he ose. The wt De Hehighight Remon ha highighs shoul aye ‘bevel smeiand atone rtwa nghightean ahead reply. Mose: Step 3. Now, your shasow shapes.n ica, ‘mebotomplaneot ences anc ths cat shadow ur are noxe ae re moet porn dak areas. Aner !meangup esnacon puss onyourpaet' toa your tuustand gre a good sce, (The st ip wach shoudbacry bynow. Fst blockin Mol oye which ‘Shoetc he pre-crack nose. wen your pone ‘udosard make yout shadow shape earful, nating ‘ecouter boundates of tn lel evatrow ang chee rd meretrevtant aking suteine Doundary he frontplane othe noses ight I's very perant iat Yyouatch he subse ages and curves tary shape Jourecrowing or psiaing ands scetaaiy tunin {ha cae of ma nose! Sep he sroke jar shot of he reco, Nose st‘Nowe: Step 4, Now forthe bottom nlane ofthe noe Then undersideot he sose canbe casei th acme, ottong shedow stoke Thon wh the same wash, pant the cat shadows unde ie nove. These (us shadow coninue ight down and cornet wih {fe mouth, Aaya tinge many of your enedow ‘tapes ar you ear avoldeaung te and pieces of radon sproad aoesly about) Fal, give the Ineletindeston aft nghoye gcse, ome the owe peoeet” ut Fem fe fe, 52. PORIRAIT PANTING RLWATERCOLOR ‘Nose: Step. Ve cers the botem lane shasovot ‘hee at fuer atzuating he tinge smal shapes on etor side of ho noea te. Normally. do Ingen tt pn he boom plana (Sten 4) et hate! wert to tes he importance o stra with ‘bg sae shapes belore geting nsved wih ra forme, Ie alo catrad the mou trhe, 5 10 ‘shew how much mleege we can get out oho east ‘todow urdor he noes. You can aio we the came Sou wah fo doserbe the rout arc the shasow Nose Step 6. Now. theight esti recat misyeth 3 bitet perth: ameat pure tiack (Rerembor that shadows aoet saya have som lected io thom so never rae thom Bice Tho reel, on the thot han an accent almost ro vllectes igh ‘eaotes no areas be he cel) Notice hat hor Fal shocow ace lar by comtoareen.Netice aso Mhalsonect ihe edge arcurdinenost aresotenad coat wher they bine wi the aojacant shadow ‘Themakoe re naticeamto bo pat ois evoune ‘nga nhoreae a hock-edpec. dark area would appear ‘olted and unconnactedNose:Stp7.Tocomplet ns etree, ads he very ‘Slemasevaluesn helt sdeo! hearse ‘eer nottomake hen a0 aro hey och ke ‘Ports, ard nese wilMsten out" (amour the Seton onthe gh to the dustaton fr th at ad ‘you'osothal ie miseolves he skechar relly Godlee valves eset spect consiae- onthe areas tat tointatght ney ae ‘veryimpatant an peceseary npg rsehed Food Honever, thefts ecanger ai! you ty oma tthe aaievaive changes you seesaw be ‘vernead ord redaren So, lornom, concerts on Smpotghs anc sano ars ananinoiya mine lume nacossary mil hs. “Te nie vats are to dark neve. The nooe has tstanos ou,” and he feat looks overworked Nose 52Anna.) 6°10" Faviano pape. The supe re ‘nasavery ety i bl atta mar coeen show tpatnegeaon Raiirtnan jngio dearica pits ‘my subject was mote wrested in pang what agp ah song igh shines dawn ad bangs the anes i very hat eet. Tne ighnese ol he ‘Shows naps create te feng of mina hat The: Gn the other hand the hgh yn bath fe ah td shadow areas 8 more ypca of sunight han Tiel ngtitae ightng. Sacer m sunight ae ‘huaysmuchhigherinkayinan shadowsin an dor Stumon siely because cutee roflcte ight rch more dbrexs hon ise retecaa Hon Modelin Profile. (Pit) 12x12", Fabnarepacer In paningaprotie-whichssceraniytne easiest way Panta head = sveryimporantoartelaterhe major Sap an very cat rangi ecesiny OF ‘temods, and inactoceserbethe rahe Mar ql fie partvir lace. Compare ne ured edges {round tho eyes ad under the rise with the very ‘Satnaehard vdpein the lorehead andalong Ine nose ‘Amaystytoereate acon herd and sot eae. {olnes Halo your edges aetoo har, hehe wil Toot cto ardpasie dow an ey retool, eos the dtnion of he Nee.Mouth ‘ow tothemouth, The painting problems hee are the same 28 those o panting the othe features: ‘shape ssi one of thas considerations and he ‘planes are important in showing the sucture of ‘hemouth. Aso bo sure youhaveaqood variety ‘olhardandsot er "lot andtound,” edges. One ‘waytoachievea ot” eoge' to put wo areaso! ‘sinvar vale next io each othe. Thelboundary be {ween wo sia vakies wil obwousty be much Jesersicoable han an edge between alight and 2 ark vale. Take look atthe Huston for Step 6, and | think you'r se what mean. tn the upper lp, we nave 3 fat oak value, ard above it we have ‘much ighter skin tones, Compare thistarylarge ‘ate contactor "found"edge wih the contrast ‘between the lower ip nd the skin tone below it “The ight lower ip i very close in value tothe skintones net oi, anda "ist edge orbound- ‘ary crated btucon the two areas. nStep6, oa you describe he area tnemouth round he dena archo the eet, ry to givethe lis andthe entre mou a feting of roundness ‘and frm, Aways remember tha he ne ofthe feath recuee& unde fxm and tha he ips must adicat ths by apesring to go around & ‘The sketohn a the ght ilustates this point ‘Wen yourix your washes forthis exercise re member tht there ie no harm i making your sadn values ety dark. As you ve seen, washes Arygntr, and, when youcraw shadow aeas out into ghtatesstomako middle values, you auto matically ighen the shadow. “Ts imo th iit sources somewhere above tne moet. Tris means that you'l ave shadows ‘onyourbtlom panes, mde ints on your ont plane, and ght teas on your op planes. ‘Your mates remain he samo: yourNumbe 9 \waerclororuehatube of wry back or Payne's ‘f), 2 wale a and cloan water, pushpins snc raning board plete, and watescolr paoer “Tecrtal sh, ottnao! th te sarounce! fees ine snclre of the ere oh ‘hau dente i roundres,outs Stop 1. Steen nthomout. We've ding more 2 mouth” (Nataly, hore feng sh thing!) Pay faticuaralenionloshape Novorssevm you knoe Iheshapectnemouth are any oa esture Comat INedtaning boats aciear mindaran absaran! ‘fe Aina ask yourset hw doma tha upper Wecer ‘pare to Ine tower Kp? ster llr? Se ho ‘much euvature thera othe upper ia, As = general ‘i, te upperipisemuchimoreinvevadshape tan telewer tp, Mout: step 2, Now comes your tes oh wash Noa ‘wath uate) ve one colo and over nena ‘mouh aaa ano some ofthe sitounding aoa 0 "ele asmal ectionol untouched paper ontne ower npto naletes pose monn. You woot always overages, but whan You, make su rey Te ot toa tag! Ths ena oame toe big. soe ‘rales 96 go along. Mouth: Step 3. owt yourshactw shapes, Onyour [let miaupa ay date waah—boke oo drat Ns ‘Sgn than fo hl ae nang yur brs sit at Ine sat hs mouth corner £0 at your sttcwe of ‘dere ara then nrc immedetely stn age ogottsige nedapende ofaoutee,anthe shar ct ‘hope moutyoure gaming). Male he stoke ‘le egg approach ne cane! ne moi. ‘eyaucan ee. Vesiopped my stove shoal re cen- terettneuope ipand repeattne proceaursantne thers sting an uniovces muda eaten 303 ate roundnasea'oura ne dome acheS, ‘Mouse Sap 4, hse your brush and eve ta geod ‘Stak viomng que jou Sort want Bs shadow ‘eae youes msiop3 ody). connect neo es ct {he mouth a he mil, slowing the shadow to low Inte steayouttuniouchedn Stop. Notice trl ‘heme ste staighorhar hehuo 8e9 NoCe ‘sora me eo sos have texome lireer Because ther washes have ean dorm out toch it. Next, ‘ra your ego down it nate Hp ron hee ‘corrretthe mou, avg the miclesecion un 5 PORTA PRITING NWATERGEROF <9 Mout Step 5.Now, daw ne vals on eihersce ot ‘nelowe pit ths mil fe, epeating he process yuuse forthe upper ip. Nai that ve aliowee SShectnedeter reeset the ips toon ia rourangslonsresa (Neve’ alow the mouth 25p0a" [sostedand uncomectes tos umourengs ne Inesesoftedgescecur under he lone i. sod he ‘aghrang neato oa botlomplane unde theower i e Mouth Step 6. Now het! oushas. the maw thing todo here's resale areas het pond erohasie 93, Carhoning. To dation the pet", peat rr oF ess theraceduesyouusad inSieps ana. On thera ‘Ba, Te alowed emo fa dark upper ipshasow 0 {reel oun mi the ver po avo sing a had {ontnuus cision blweon he upper stoner Se. Fementerto keep the eaingelconneston and Mr ‘elsnanpatween areas by vei Test” and "ound edge Te herd ron Betwoen es a somida aeaic loa yousoMin be edges yu ‘conmake thee 908 ver more wastrel an the figiece. you mive anatea co vague abraye wa torttodry. oratory, and Won dna touch ‘rier vale ft 2696 (Cast Shadow. (Fight) 10°10" Fabian paper nth ‘Shes ging saion. 1 gearalzes te ca, ‘Sradow coat by na eae. As 3 gone ue, yOu ‘reuse sure tra cast shows express tne ‘Bureular form on whch ney. Hee, nowever, here [Bauch speci orm nthe foe that tne grees (eat shugo eeore to work Wobco fal early ‘wteulslodtheplnesclthetace,aincugh |usedonty Shevauesntneanadoae, You cenece thet waevery are vocaptretne quality otthspariulr mode's fave10 Ears “The cas are very important features and should rover be careossly draw or dated. A poorly Cavwn gar i olen the mars of an amateur You sould take jst as many pains wih te eats ‘Shape ard construction 2s you take wih any ther feature Atways observe cell, and ry to cap ture, the particular ooastrucion thi eather com= cat form, ‘Gre common mitake's1omake hele fold tetopattne ear the sare shape as he top ofthe ‘outer bound, ve draumtne sketch below toi lusiate nis ero. Inthe coreetycrawn ear onthe ‘ight, notice tat the tp ot tho inner fol is quite ‘Slalg whe the outer ooundary curved. Thisis ‘a genera ua, although you might sometimes be hatd-preated to $2 a diference belween these fo shapes, Even the to shapes lok exactly tne sam, vary them, sage | sont feel there ‘ever shouldbe to psralel ines, equal curves, ot ‘smiar angles, on the Puan fr Tes probeoly ste to say that nothing in nature is ‘vaely symmatncal, Ths sa very important point totemember When youcrawa curve, lcokforan ange to cntasl th;when you have asiaight Tine, lok fr @ curve or an argle fr contrast Fortis donatration, wll do the eae in side wen sowecan see at muh of form as pos. ibe, Wel ame nat the ight is coming from ‘he front and also trom sighty bering the head, \hn you te parting @ pater ar, study the cule contours and he inner areas until you se their act structure Inthis exerse, hardand ett edges willbe vital inshowng he constuction ofthe ear, ancl Keen ‘mentioning them, Because | want you ta seo all they doter ne oar you pai! Remember, 00 that your wash has fo be damp when you sotten an ‘edge, co aways Soen ates as you go along, ralner han competing tho wnole ares and ther sotening InStep 6, use wotechniques: wet m-werane ry-bsh, Wel wer extremely use neTike Ingsot ost ecges. consists of adaing a secona, ‘neta othe wash {hat salresdy on your paper betorethetiratwash sary Wen you se WoL ‘wet, beeure thatnethecwash isto wel, or you'l desioy te eect. hen dryush & weicaed ‘simply load your brush stiaght rom tha paint ube, ining with tte or co ater, eneappy your dy stokes 1a plain paper oF died washes, AA “heceronthelicsanineomoety. Te outer ound aha top othe ear should never be {ncsame nape osineinner ots intneear acy ‘ray ear a ho ig te re fe ssa liane er teandaty souredEars: Step 1. cok ist at he outer shape of ne eer Notce ht the tp sa simp curve ra becomes. ‘Staghlers t sans down at neck Some ers can bedeonibeabyaanplecurve slongthebackeges, ‘tne oy amost stag ines, ana sl ober by = much mora camplcatedsjtem of cirves and argos {kore one wee dravang hore) Skaton in he er sreneevery iy Youwnontysighi ueprat 68 ‘gude wren you lookin ti mer shadow shapes are Step 2. Lay aligh wash your downy a sbuitoay. are Step 3, Sopa locting nine wae snocow snap ‘Sherine ola unstong inetop oft st There IE urty rere atance bela fs 9p 1 ara he Ine te ee near neal, 20 sort ven aft ‘Sadoweape onthe of nara ye roe feschio tne lg noe spce. (Thi agent Yom eentaneregeaecty wpe neice twee ae trick mess up inrea" ares} Bact pur ‘asd shape Resize ali widens then gradually thins ganas sara down the rh se fhe sr,\e ara: Step 4. fr sane 2399-Sohaning Rinse out youronin, vet goad chara. olen te ove, ‘sce eye nega shadow shape tetaretnt~ roves Tn@soleage describes tne crovicein tines {orform ve aed signee he outer oxge o he Shovowstnponmerght. ler paningihe sviparnost ‘tree turhso!tnewey down fhe car tow back he ffontofthecar Wino shadow wach, ncealea very harow spol on Inet under te srginal shadow hap ren fe very ntge hidantaton tats tyoeal ot Sirona! ears nmseave, veshoun thinaetation sea teaerop" shape 2 PORTRAT PAINTING IN WATERCOLOR ars Step 5. More sing thes place as you use ourdanyorush olen andsotentne nner oda Of {pedarktartropshape Unrkentnearaa above seat ‘pinccale har andtocreatesemetaciground hat ‘tletinalgnter sections ofthe ea an Yatter i thesstlenedarenon honghtacect theca” cl Net lantyou gela so “lost, edge between tis shadow Sectonandtnebackgresnd. Seehow te ard ane sot coos bathnthnthe ceraecarounatna cutee, ip toshow ih parieuar conatuctonontherighi seo! thea Esre:Stop 6, Seow tha one, ichis quite 2s Ihe curounding dar ones. Dont werk ie Hit or fay ght exe, ana cot 26 t20 much cea. oF yeu iseroy toto youigharea Aer ou ve etauebed yeu surourdng Cais, let sore ofthe Gate value low cut ta te bgt Bottom lobe tte mide valvesBlctInesemicsivalvesso hey artbecome eo darcotio lige Now use your de feeteark inicaetnecener sectional theea. using Meno! to kawp te cages stl Final. 2d some Sybver tor har nctamdaleval log the head to Convat wt ibe ight ip below aedalong tne ton! ‘ag ofthe eae‘ta man. 8°10" Fabriano paper. Tish ha vat icresingpter, wih Iv ightwortrgacreos the oes and een tne 1h eye. The ight ey = Svhaly tajuassacton te nea tosh ee ete res tat are uroundes Wy shadow deter nig as ein ean sector ota ‘ming Ths tna by malengn igh eres with [hone gheetsnsion ot ticpaiig,radethis Mating) 8:10" Fabiana paper is paring roma pene caing tat mace onthe ook It wary abou my coos ete was more Foesed capturing te ating of rhe ark Endionelyigureemerging rom amon baeharouna ‘thos same rita covery ated pangs om fetches lc clen work iem hembanause Son" ies setenv me anougn lotion To coe ‘etatry panting. Bul vo much oth pure Was tuersapesna used estat evan mageBlonde Model. (ot) 8214", Fatiana paper. Her, thptton ofthe foe in igh and, beyond the igh rock rea ofthe ace, Irs fa mah deer bckeyund usp te backgroun very da, there usasvery vole vsuee ae aeen ote Hgh. suck sectors ofthe fe fo oriag oi Mose grt Stes thet very gp des ops wa yous, utyeu shoals vowing tomake anychanges Nat might serginen your pete Resting. (ight) 12°x14", Brit! sapee. Ts painting ‘evar Toeumpertviarytuecessu tre inthe {eight Ae ith a ening igre the proportions anc tere of te head samo ange when fs nels at Schon angle, Seme aren ten ou we ober terror‘fone of he ertete wo works nour Eketan grou, Hote ceapuremotooingettrangiigitchiing cow ‘onthe ebjct ueza dnt ehacome and tacky high fn sey~stly negro a Scr ight al ha ie, cng dare valves 18 Backyound can destroy te teing ig a simospheven painting Tryto da valuetha sus Garkenogh lootbel your ight values bu ot socdark the wl dostoy the ecg of ight nd mosphere thas 30 impatantm ny pang Karen. ig), 12", Fabien psper. This adel ‘senate menus erlahe was attngesty sly Het fe sharo ret. ke fd ne parteuar acpect ot ‘achpning hal aes torn layer IMectoeat gesture atte coat thoenparaine fone garg rom another sa ads some parole Fisresto Ths grnwavery ends haan ed & ‘corbin et cadmium yelow pale and try Bi ot Yellwcchstowasnintneightcectons. Then ited Inoares wit ewe Bence hare stieltte part because is len arta hon appar. Even IE ‘erblende aera ware someverydarkarcas Ie [2ebimprtant no fo onerncrk he igh areee Painng suchas ths Try to hep the very hgh-heyed sectonenns case, he very blonde hal Urchiterd by smal sie changes, Too many small ‘aluecheages insight peau ony he feeng ot gnSarah (et) 10°10", Bestolpaper. Paring cniden ‘estomay etteultertmecewiaus rasaa—ney wont ‘ay sb Socaute oh, I ink watercator 20 jexcaen madi fo ue in painting eieren, tows Soutorrae stamens muchmore reli and auty {han of dove. Ot course, 2 goneralaation, and ameatiss who aro very sdoptal skating nal wi [roby agree mith me is aso macriank~ond Fell—to make a good drawing Hrs, aswell as to accept lat that sourmiodel probably wan tretn 'o ‘a2 the semescation whenyou gettothe paring Sage I your drawing is good enough, and you study Your suject wel you can certainly dean acceptale Baiting even ‘hen the subject an abc Statenary. For tispantng, used the teevison setto ewpmy Sauget a sila possi. Although achia's ‘xpreasion may be father vecant when you use his ‘ieki'sqoad way io kewp your subjactin one place Gait. ghd, 10°14", Fobiano paper This rredet was na more cite ighing uation than tres of hose inthis book be fe Yry ight sp Bongthe ar sdeothe face. Ties ethernainight arom nde paper very ight peiminary wash—can beusedtocescrbw suchalghtsecion,Thereflected hg at we seen na sce of he nea ting ve Cita a presiam You shoul says snow the ‘ference betusen elcid ight and you mai ig fherectad ge enaviéneverbs eight es your main Ign ati painig, rs covered wnaiehead with Svaylgniwisen and alones te cry Nest, aving Srp dour naar ce he naa untouche,eocvod Interest thoheaa wna fry ight shacow value. ‘Agan, alowed washtaryang nly, |aaeamy Geteat arcs a2 9 rl, | try to evo hasten ‘wthnenogen’stuson Shecows shoud simaiein ‘alie—thol, there shoul bes ew valve changes as tile nshacow reon this case, however, haa noche, and he stow ise of the ena lay Imvobed