—not all. We should no more draw every leaf on a tree than draw every lash of the eye. We choose the most important.
Finally, we take a general survey, deepen shadows, add a few details, and then notice that the eyebrows have been neglected.
We should compare the eyebrows with the shape of the eye.
The hairs of the eyebrows are usually thicker at the base—that is, nearest the nose—than at the outer edge. They begin full and thick and incline from the nose outward, framing the eye in a wide curve.
Eyebrows there are of every variety. You may see every day eyebrows thick, thin, bushy, soft, fine, and coarse; eyebrows dark, and eyebrows so fair that they can hardly be detected except in a very bright light; eyebrows traced as delicately as if they were made of a single hair, and shaggy, overhanging eyebrows from under which the eyes gleam like little pools. Note the eyebrows and draw them carefully.
It would seem foolish, having made a close study of one eye, not to draw both eyes with equal care.
We might this time chose to draw our eyes from another angle. And as we are drawing a pair of eyes, we have twice as much to bear in mind. First, we should roughly trace the position of the two eyes. Sketch the position of the brow, and the angle of the two eyes, and the size of the eye and eyelids.
It is useful to remember as a general rule that the space between two eyes is the length of an eye. Then, having sketched the position, general angle, shape of eye and eye-socket, it would be wise to note the position of the iris and pupil.
These we know must agree. Unless we are very careful to sketch the iris of both eyes looking in the same direction, we shall certainly give our drawing a most horrible squint.
If the iris lies in the outer corner of the near eye, it must lie in the inner corner of the far eye. (If you wish to sketch a cross-eyed person, then you place both irises near the nose.)
