Begin by making a working drawing somewhat like the illustration. Now make drawings of the face of Myles just as you imagine it, front view and side view. Always consider the age of the character you wish to model. Faces of the young are smooth and round, the brow unwrinkled; those of the middle aged less smooth and round, with the jaw, chin, and nose more clearly defined. In old age, sagging muscles produce lines and hollows around the eyes, nose, and mouth. You must also consider the structure of a face. This means giving attention to the shape of the jaw, chin, nose, lips, and the eye sockets. In modeling the face of Myles in _Men of Iron_, you would naturally give him a forceful chin and nose, and a large, firm mouth. If you were modeling Lady Alice in the same play, you would express her daintiness and lightness by giving her a delicate nose, smiling lips, rounded cheeks and chin. Lastly, you should study the expression of the face. Have you ever noticed what happens to the muscles around the mouth when a person smiles or is sad or angry? When we smile the muscles lift the corners of the mouth upward; when we are sad the mouth droops at the corners; when we are angry our lips become straight and firmly set. The brow is very tell-tale and can show different moods. In surprise, the brows are arched. Curiosity draws the brows together, anger draws them together and downward. Sadness is shown by the drooping of both brows and mouth. [Illustration: [Heads]] If you are to become a successful puppet maker, keep a small sketch book in your pocket and make numerous sketches of many different types of faces and of human figures. _Modeling._ With your drawings before you, take a lump of clay or plasticine and model it into the general egg shape of the head. The small end will represent the chin. The large end will represent the crown of the head. Add the clay for the neck. Draw a light line on the clay to locate the brow, the length of the nose, and the position of the mouth. Now while you hold this egg-shaped head in your hands, place your thumbs just below the line of the brow, and gently and firmly press the clay down and out and up to form the eye sockets. Then build up the nose and lips. It is unnecessary to model the ears. In the first stages of your modeling, you cannot expect the head to resemble your ideal character, because you will be striving for the general proportions of the face. When once you have attained these proportions you can then begin to work for a likeness. Besides your ten fingers, you may find an orange stick or a sharpened match a valuable tool.