straight lines, which shall give
only the main proportions of the head, neck, and shoulders. Within
this, block out the features largely. Don't draw the eyes, but only
the shape of the orbit; nor the nostril, but only the mass of light
and shade of the nose.

=Construction.=--In these studies avoid trying to get anything more
than what will be suggested by this simple drawing. Use body color.
Don't think of anything but what you have to represent. Never mind how
the paint goes on, nor what colors you use, except that it is right in
value, and as near the color as you can get. Put it on with the full
brush, and try to get first the large masses and planes. Get it light
where it is light, and dark where it is dark, and have contrast enough
to give some relief. Don't try for any problems. Set your model in a
simple, strong light and go ahead.

No details, no eyes, only the great structural masses. Try to feel the
skull under these planes of light and dark. Have the edges of them
pronounced and firm.

Do a lot of these studies; learn structure first. You will never be
able to put an eye in its place in the orbit till you can make the
plane of dark which expresses the bony structure of the orbit. You
will feel the edge of the brow, of the cheekbone, and where the light
falls on the temple and on the side of the nose. Inside of this is
the dark of the cavity, broken for your purpose only by the light on
the upper lid. Lay these in. Do the same with the other planes, and
put your brush down firmly where you want the color, with no
consideration but the simplest and most direct expression of value and
color.

Now, when you can lay in a head in this way, so that you can express
the likeness with nothing but these dozen or so of simple planes, you
have got some idea of what are the main things which give character to
a head. You will begin to understand how it should "construct." Into
this you can put all the detail you want, and if the detail is in
value with this beginning it will keep its proper relation to the
whole.

Always when painting a head solidly, work this way. Get the action and
character of the head as a whole. Block in the planes of the face and
the features; and then go ahead to give the details which express the
lesser characteristics. But always get the character, even the first
look of resemblance, with this blocking in. Details and features will
not give you the likeness, to say nothing of the character