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 towards D often makes another dark part in this direction.  The edge from C to B is nearly always a soft one, the tone melting into the flesh, and this should be looked out for, giving as it does a pretty variety to the run of the line.  Another thing that tends to make this edge soft is the fact that a bony prominence is situated here and has usually a high light upon it that crosses the eyebrow.  From C to D you usually find a sharper edge, the hairs running parallel to the line of the eyebrow, while from D to B and A to B a softer boundary can be looked for.  The chief accent will generally be found at B, where a dark mass often comes sharply against the tone of the forehead.

[Illustration:  Diagram VI.

ILLUSTRATING SOME POINTS CONNECTED WITH THE EYES NOT ALWAYS OBSERVED IN
DRAWING A HEAD]

The eyelashes do not count for much in drawing a head, except in so far as they affect the tone impression.  In the first place they shade the white of the eye when the light is above, as is usually the case.  They are much thicker on the outer than on the inner side of the eyelids, and have a tendency to grow in an outward direction, so that when the light comes from the left, as is shown by arrow, Fig. 5, the white of the eye at A1 will not be much shaded, and the light tone will run nearly up to the top.  But at B4, which should be the light side of this eye, the thick crop of eyelashes will shade it somewhat and the light will not run far up in consequence, while B3, A2 will be in the shade from the turning away from the direction of the light of the spherical surface of the whites of the eyes.

These may seem small points to mention, but the observance of such small points makes a great difference to the construction of a head.

Fig. 6 gives a series of blocks all exactly alike in outline, with lines showing how the different actions of the head affect the guide lines on which the features hang; and how these actions can be suggested even when the contours are not varied.  These archings over should be carefully looked out for when the head is in any but a simple full face position.

IX