there is
usually a cavernous hollow, from C towards D there is a prominence. The
character of eyes varies greatly, and this effect is often modified by
the fleshy fulness that fills in the space between the eyelid and the
brow, but some indication of a change is almost always to be observed at
a point somewhere about C, and should be looked out for. Any bony
prominence from this point towards D should be carefully constructed.
Look out for the bone, therefore, between the points CD and AF.

Never forget when painting an eye that what we call the white of the eye
is part of a sphere and will therefore have the light and shade of a
sphere. It will seldom be the same tone all over; if the light is coming
from the right, it will be in shade towards the left and vice versa.
Also the eyelids are bands of flesh placed on this spherical surface.
They will therefore partake of the modelling of the sphere and not be
the same tone all across. Note particularly the sudden change of plane
usually marked by a fold, where the under eyelid meets the surface
coming from the cheek bone. The neglect to construct these planes of the
under eyelid is a very common fault in poorly painted eyes. Note also
where the upper eyelid comes against the flesh under the eyebrow
(usually a strongly marked fold) and the differences of planes that
occur at this juncture. In some eyes, when there is little loose flesh
above the eyelid, there is a deep hollow here, the eyelid running up
under the bony prominence, C D. This is an important structural line,
marking as it does the limit of the spherical surface of the eyeball, on
which surface the eyelids are placed.

Fig. 4 is a rough diagram of the direction it is usual for the hairs
forming the eyebrow to take. From A a few scant hairs start radiating
above the nose and quite suddenly reach their thickest and strongest
growth between B and E. They continue, still following a slightly
radiating course until D. These hairs are now met by another lot,
starting from above downwards, and growing from. B to C. An eyebrow is
considered by the draughtsman as a tone of a certain shape and
qualities of edge. And what interests us here is to note the effect of
this order of growth upon its appearance as tone. The meeting of the
strong growth of hair upwards with the downward growth between points B
and E creates what is usually the darkest part of the eyebrow at this
point. And the coming together of the hairs towar