ds D often makes
another dark part in this direction. The edge from C to B is nearly
always a soft one, the tone melting into the flesh, and this should be
looked out for, giving as it does a pretty variety to the run of the
line. Another thing that tends to make this edge soft is the fact that a
bony prominence is situated here and has usually a high light upon it
that crosses the eyebrow. From C to D you usually find a sharper edge,
the hairs running parallel to the line of the eyebrow, while from D to B
and A to B a softer boundary can be looked for. The chief accent will
generally be found at B, where a dark mass often comes sharply against
the tone of the forehead.

[Illustration: Diagram VI.

ILLUSTRATING SOME POINTS CONNECTED WITH THE EYES NOT ALWAYS OBSERVED IN
DRAWING A HEAD]

The eyelashes do not count for much in drawing a head, except in so far
as they affect the tone impression. In the first place they shade the
white of the eye when the light is above, as is usually the case. They
are much thicker on the outer than on the inner side of the eyelids, and
have a tendency to grow in an outward direction, so that when the light
comes from the left, as is shown by arrow, Fig. 5, the white of the eye
at A1 will not be much shaded, and the light tone will run nearly up to
the top. But at B4, which should be the light side of this eye, the
thick crop of eyelashes will shade it somewhat and the light will not
run far up in consequence, while B3, A2 will be in the shade from the
turning away from the direction of the light of the spherical surface of
the whites of the eyes.

These may seem small points to mention, but the observance of such small
points makes a great difference to the construction of a head.

Fig. 6 gives a series of blocks all exactly alike in outline, with lines
showing how the different actions of the head affect the guide lines on
which the features hang; and how these actions can be suggested even
when the contours are not varied. These archings over should be
carefully looked out for when the head is in any but a simple full face
position.

IX

MASS DRAWING: PRACTICAL

This is the form of drawing with which painting in the oil medium is
properly concerned. The distinction between drawing and painting that is
sometimes made is a wrong one in so far as it conveys any idea of
painting being distinct from drawing. Painting is drawing (_i.e._ the
expression of form) with the added