little. The eyelid of course is there, but the brow swells forward and conceals part of the lid.
When you draw eyes of this description sketch the ball of the eye, and the lid, and then sketch the brow.
Eyes, of course, there are in infinite variety. Some are heavily lidded, some are large and round, some are lashed with long silken hair. There are small 'piggy' or half-closed eyes, the eyes that pierce with sharp keen glances. There are the dreamy eyes, the laughing, twinkling eyes, and the sharp, suspicious eyes.
There is nothing easy about the drawing of an eye. It will always demand the closest care and attention.
Even when we are drawing the eye of a sleeping person, when the lids cover the eyeball, there is the exquisite meeting of the lids, the mingling of the lashes, and the shadows cast by the lashes on the cheek. We must not forget, by the way, to indicate the roundness of the eyeball beneath the lids.
A nose presents more difficulties to the young student than any other feature; more especially the drawing of a nose in full view—when we see as much of the left nostril as the right. And the reason of this difficulty is one of perspective. We are confronted with something which fills our mind with perplexity, something of which we shall often hear, namely, 'foreshortening.'
Yet a nose is not such a very alarming shape. Certainly not as difficult to draw as a hand pointing straight out of the picture. It is merely two small cavities placed at an equal distance from each other, winged in flesh and protected by a round tip, and bridged to the face by bone and gristle.
When you draw the nose full face the shadow of the bridge, and the shadow under the tip of the nose, and the shadow beneath the nose, boldly. Think, if you will, of the keel of a ship, of the corner of a box. Don't be fearful of making the nose ugly. Rather a big, well-shaped nose than one—as we see so often in our drawings—timid, feeble, and of little account.
