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 you will probably detect hairs. Draw some of these hairs. They will 'break' the light and give a hairy appearance to what might otherwise appear rather like metal or woven silk.

Hair that is frizzy, and grows golliwog-fashion from the scalp, must be drawn with the lightest touch. Hair smooth and silken, and parted and worn close to the head, can be drawn with more firmness. But there is no general rule to be followed with safety. Hair is so diverse in tint and texture that only by consultant practice can we 'make good' with our pencils.

When drawing hair we should keep a light but not a feeble touch. Draw with delicacy and look for stray hairs to break the firm masses.

Babette's thick plait offers another variation. Ask her to turn her head aside and sketch the back of the head and hair, the parting, the smooth hair covering the crown and then dividing and twisting into a silky plait. If the drawing of the plait gives you trouble, practise with some twisted skeins of coloured wool, or silk; only recollect that in this case the material will be of equal thickness, whereas the plait of hair graduates from thick strong roots to wispy tail.

The movements of the body, the action of wind and weather, all affect the hair of the head.

Indeed, the little details of floating hair and flying beard are invaluable when we sketch figures in motion.

Young artists will draw people dashing through space, flying down or upstairs, chasing balls, bowling hoops, with their hair as neat and smooth as if they were calm and motionless, whereas ruffled hair will give the effect of movement. In this age of tight and narrow garments, when flowing robes and cloaks and long veils are seldom seen, hair is an asset we dare not neglect.