shadow on the bridge, the shadow of the indented lip where it falls in a dimple above the upper lip.
The line that extends from the nostril to the corner of the lip may also attract your notice; this is the curve which deepens when we are moved to expressions of mirth or grief.
Throw up your head.
Your nose rises boldly like a small peak on your face, the nostrils wide at the base, narrow to a point; the wing of each enclosed nostril is also long and narrow.
Persuade your sister to bend her head downward.
The nose rises from the broad brow pointing downward and outward, hiding the upper lip and possibly part of the mouth and chin. In this position we get the tip of the nose very well defined. If our model be a child, the width of the delicate nostrils is very apparent.
The nose seen in profile, with the head flung aside, is sharply defined; the bridge slender, end slightly tilted, nostril curved, and the wing of the nostril well marked.
Now, we know that a nose has two sides, two nostrils; we know also that there is another eye, another eyebrow on the far side of the face. We must never draw a profile as if it were a flat surface (as we are sometimes inclined to do), but suggest by the curve of the eyebrow, the eye, nose, and mouth, the side of the face that we are not drawing.
For the head itself is a ball-shaped object, as we must never in any circumstances forget.
We should take every opportunity of studying noses in reproductions of pictures. The Old Masters never scamped difficult problems of drawing; and you may also gain a certain amount of knowledge by examining on this fascinating study of features, you will glean helpful ideas form all sorts of unexpected sources.
Always try to simplify your objects; and accept a wrinkle from the Old Masters, who usually posed their models in half-lights—namely, with the light coming from one side only.
