Let the pupil survey himself in that and sketch the changes in his own features. For the real thing in the way of emotion no better aid can he had than a mirror. They are offered as hints and suggestions to aid individual observation. They are not absolute, and are even interchangeable to some degree. The definitions that accompany these diagram-like outlines of the various emotions are conventional. The beholder of the picture can be guided only by the artist's interpretation if it is false, the picture is misleading, therefore valueless. The effect and force of nearly every drawing in which the human face appears depends very largely on the extent to which the artist knows how to give expression to the human features. The study of expression is so full of interest that the pupil is easily encouraged to go to nature in order to gather more than a slight smattering of knowledge on this subject. Approximately, the same lines are used to express revenge, hatred, rage and fury different degrees of intensity and rigidity of lines being used to suit the ideas of the individual. The lips are compressed at the center, with a tendency to parting at the outer ends of the mouth. The eyes blaze (usually shown in a black-and-white drawing by a very dark iris and strong high lights), the eyebrows are contracted, with the inner ends downward, and the outer ends inclining upward. Pain, anguish and despair can hardly be separated from the general term of sorrow to an extent they are analogous, synonymous. When sorrow, pity, pain, dejection, or melancholy, hold sway, man's face is proverbially long. The general tendency of this emotion, because of the laxity of the muscles, is to lengthen the face. The lips are parted, somewhat as in joy, but the corners of the mouth are lowered. In application the head should be inclined forward, the inner ends of the eyebrows are raised toward the forehead, the eyelids droop, while the pupil of the eye is raised. The figures depicting sorrow show the muscles of the face relaxed. In this the emotion is mostly expressed by the partly closed, but vivid eye, the mouth, with lips slightly apart, and the corners of the mouth slightly elevated. Take, for instance, the facial diagram that portrays joy. In all ages workers with the brush and canvas, mallet and marble, have been practically unanimous in accepting certain representations of form to parallel, as well as they may, muscular and color changes caused by mental emotion-the telegraphic signals of the brain in action. He can portray but one movement of many that in life go to tell the story 3. The artist must take one expression or, perhaps, merely a phase of the expression, and then attempt to represent the emotion he desires to portray, fixing it immovably. The actor can make quick facial changes indicating the emotions he imitates, whereas the artist is limited to immovable lines. What a splendid model he would have made ! A bright young lady said to him : "You shouldn't think so people can see you. Nevertheless, some people can scarcely conceal their thoughts, although they speak not a word.Ī man there was whose emotions were usually shown in his face. How seldom it is that one can read the thoughts of even a real human being by means of the expression on his face merely. Many of the faces herewith shown might be unintelligible were it not for the text that accompanies them. It should be understood that it is practically impossible to represent all the emotions with lifeless material. ![]() The pupil may adopt, adapt, amend or exaggerate according to his own ideas and judgment and, Of course, according to his advancement. ![]() Within this drawing lesson are given slight hints for what may be termed the emotions arranged in such a way as to be easily understood. Indifference, joy, anger, all the emotions, in fact, serve a useful purpose to the student of art. By the means of these we are enabled to convey by such lines and tones the visible signs which the face gives when mental agitation is taking place. When we do not go to nature for expression we adopt certain conventional representations of emotion. There are many other Facial Expressions Articles.Find them here. Learn how to draw your facial expressions and emotions from the front and side view with this amazing drawing lesson and guide. Home > Directory of Drawing Lessons > How to Draw People > Drawing Facial Expressions > How to Draw Human Facial Expressions and Emotions Ultimate Guide to Drawing Facial Expressions and Emotions of the Human Face.How to Draw Expressions from the Profile and Frontal View
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