As the upper lid projects over the lower, the eye-ball has a tendency to slant backwards at the bottom, which effect is not very noticeable in the front view.
The ball must fit well under the upper lid and not project.
The deep lashes on the upper lid cause a shadow which hides the eye still more, giving it a soft expression. By continuing the ball through the upper lid one can prove if the ball is hidden enough.
The lower lid is soft and delicate and is often omitted in fashions. In pen and ink drawings you will observe a few lashes suggested on the upper lid, if so, draw them on the corresponding sides of both eyes. Some artists indicate the lashes all around both lids. If done correctly, this is very effective.
The eye-ball moves from side to side raising the lid as it goes.
In the front view the ball is round, as is also the pupil, the ball occupying about one-third of the width of the eye. Note the little catch light on the ball, which curves around it and gives the eye light.
Make the eye in good proportion, the whole length being twice the height.
THE EYE (THREE-QUARTER VIEW)
If the construction of the full view of the eye is understood, the three-quarter view will seem very simple.
are lost, causing the far nostril to touch the under piece of the nose.
In the three-quarter nose tipped side-wise, one can see more of these under planes.
In Lesson XIV is given the construction lines for placing features.
THE NOSE (PROFILE VIEW)