Por­tray­ing dif­fer­ent up­set emo­tions

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1 I want to paint a des­per­ately sad fig­ure, who is rest­ing his head in his hand. Face mus­cles con­tract dur­ing a pe­riod of cry­ing, so I paint a fur­rowed brow, eyes that are squeezed tight and a wrin­kled nose. I also give him grind­ing teeth, to sug­gest the sense of anger of­ten present in the mo­ment of de­spair.

2 Here the char­ac­ter has cried a lot, so I give her red eyes and nose. To­wards the edges of the eyes I add a few touches of light to sug­gest skin that’s still damp with tears. The fa­cial fea­tures are less pro­nounced com­pared to the pre­vi­ous step. I paint run­ning makeup with black brush­strokes on an Over­lay layer.

3 This char­ac­ter’s emo­tional re­ac­tion has evolved into a kind of con­cern. So her face will seem ap­par­ently neu­tral. Only the eye­brows are stretched hor­i­zon­tally with hints of a frown, and the eyes will be wide open. If we want we can play with the re­flec­tions in the iris, where white brush­strokes sug­gest un­shed tears.

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