English Translation

The same principle can be applied to shadows of the neck, which should be shaded like a column. This means starting with the shadow side, adding a half-tone at the edge, followed by a slightly darker half-tone, then a third, even darker, and finally reaching the darkest shadow. Care should be taken to design the curve given by the iliac bone with this shadow. Then, the shadow is gradually decreased with half-tones until reaching the bright light; a half-tone is added at the edge to separate the light side of the neck from the background.

Usually, the light on the neck does not appear as bright as that on the forehead. The forehead or the top of the oval, being the most prominent part, receives the brightest light, and as the face becomes a receding plane towards the chin, the light diminishes unless it encounters a protruding part like the nose or chin, which captures a rather bright light. We will focus more on the organs later. The lower face separates from the neck with a reflection, which appears much brighter than the contour that separates from the background. This is because, first, the opposition of the neck’s shadow makes the reflection seem brighter; second, the chest receives light, reflects it, and thus illuminates the underside of the chin.

In plate 31, fig. 1, we imagined a head without organs, receiving light from the left. You will notice that the greatest light falls on the forehead, and then it decreases towards the chin. The darkest shadow is on the opposite side of the light, which outlines the shape of the oval. At the edge, there's a half-tone. The chin and lower cheek detach from the neck, with a rather bright reflection, as the neck shadow in opposition makes the reflection on the contour and cheek appear brighter at this spot; additionally, the light hitting the chest bounces back to illuminate this part of the face.

The face, set forward on the neck, means that the neck receives less light than the face. Thus, the bright light on the neck is less intense than the bright light on the face.

To make the neck turn, start by placing a shadow a small distance from the contour, from top to bottom, but this shadow must be darker near the chin and decrease as it descends; then blend this shadow on the side deprived of light, so that the neck emerges in half-tone against the background. It must be blended on the other side as well to gradually pass into the light, and a slight half-tone is added to detach this light side from the background.

Observe also that the head casts a shadow on the neck which, due to its anatomical construction, is slightly rounded vertically: this shadow describes a curve, taking the shape of the neck. This cast shadow is more vigorous at its start than the neck shadow: it weakens as it descends and blends lightly on both sides into the shadow and half-tones of the neck.

When the general mass seems like a spherical body and appears to stand out from the paper, focus on the organs. On this mass, sketch lightly the globes of the eyes, then the nose and the mouth. Each globe of the eye must turn like the mass of the head using the same means.

The interior of the orbits should be more or less shaded depending on how deep they are, especially the one on the side deprived of light.

The globe of the eye has a fairly strong shadow that takes its shape, followed by a half-tone at the edge (of the shadow side); this shadow blends to transition to light; the other contour ends with a half-tone. The brightest light typically falls two-thirds up the height of the eye globe.

The lower part of the eye globe enveloped by the lower eyelid is almost always in half-tone, as this part of the eye, presenting a receding plane, does not receive positive light.

Here, fig. 2, we have indicated (only on the right side) a closed eye, and on the left side we have depicted, with a slight sketch, the eye open. Then comes the nose. The strongest part of the shadow, here the right side, is one of the darkest shadows of the face; on the other side, there is usually a half-tone.