head with the daintiest web of silk. Note the curve of each curl, the wave, the kink, and the final upward fluffy thrust. Diana's bobbed hair, though stiff and prim, has strong light and shadows. If we shade it as one mass, it will naturally look mat-like. But Diana's dark hair covers the shape of the crown, and the light strikes on the curve of the head and reveals its shape.
Take a single lock of hair, and mark its shape as if it were a single object, instead of a mass of fine hairs falling together. Draw first the general shape. Trailing as it does, without touching or clinging to the shoulder, we observe its curious snake-like appearance. Then lightly draw that shape.
Next we notice a twist in the lock. Draw the twist; within the twist of a shadow is cast by the thick over-hanging mass; draw that shadow. Another shadow we observe beneath the lower curve; indicate that also, likewise the several broad shadows which will probably appear above the thickest mass. That being done, we sit back and look at our drawing critically. Too solid, we say, and not sufficiently hairy.
Hair, unless very wet or thickly saturated with oil, has a wayward disposition.
Within the lock you will probably note a parting of several hairs, extending from the upper part to the lower kink or curl. Then note some of these separate hairs, and indicate with the lightest possible touch.
Diana's bobbed hair, stiff and prim, has valuable lights and shadows.
First sketch the shape of Diana's head, next for the parting from which the dark masses of hair arise and fall about the ears, brow, and neck. Draw the line of the parting, the dividing-line of the hair.
On one side you will notice a very sharp little shadow defining the crown of the head; sketch this lightly. From the crown the hair springs and catches the light. Cropped firm and square, the shadows beneath the lower edges must of necessity be also firm and angular. Across the light spaces
