’ 4 by FRITZ WILLIS pt Tg I a er le ein op th A WALTER T. FOSTER PUBLICATIONand varied planes and surfaces. Each head is different from all others. In spite of the differences, however, all heads do have some things in common: The eyes on each side of the nose, the nose above the mouth, and usually an ear on each side. Although no two heads are identical, we can establish a sort of plan or formula for drawing the head. The drawing on page 5 is a generalized map of the fact show- ing approximately the location of the features in relation to each other. The shape and size of the features will vary with each individual: A longer or shorter nose, ‘a mouth that is wider or smaller, eyes closer together or farther apart and 0 on. Study your subject's head carefully before starting to draw. Look at it from all angles, even from the back. Is the general shape of the face squarish or oval? Is it ang- ular or soft? Which feature is most prominent? What are the outstanding charac- teristics of the model's face? Don't start to paint until you are completely satisfied with your drawing. Use the best materials that are available to you. The better the tools the easier it is to do a good job. Paint with the largest brushes you can comfortably handle and control. Use a 12" x 16" canvas and paint the head about three-quarters life size. Try painting a head using only burnt umber and white. This is an excellent way to learn to see the lights and darks as they relate to each other.‘The most flattering light on 9 head is from the front ly above. It will help wash out wrinkles and iminate overly large cast shadows ‘The drawing on this ‘actual size. It was done with soft graphite pencil ‘paper. A paper stump ‘was used for the softer tones and the highlights in the hair were picked out with a kneaded-rubber eraser.