Step-by-step: Dif­fer­ent ex­pres­sion for dif­fer­ent char­ac­ters

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I paint the bored-look­ing char­ac­ter and I fo­cus on her pos­ture, which will com­mu­ni­cate her state of mind. The char­ac­ter is hold­ing her head with one hand. Her eyes must in­di­cate dis­in­ter­est, so I draw them half­closed and tight. A mouth with droop­ing cor­ners is es­sen­tial to show that what­ever she’s watch­ing is not float­ing her boat.


For the couple, I paint him sit­ting with his legs wide apart and calm fa­cial ex­pres­sion. I paint his eyes open and mouth re­laxed into a smile. But she’s fright­ened and so I paint her hud­dled with her knees to­ward her chest and an arm hold­ing on to his top. Her gaze must in­di­cate anx­i­ety, so I de­pict her hid­ing her head be­tween her shoul­ders.


Now I paint two char­ac­ters who are in­ter­ested in the film. The man is con­cen­trat­ing on the plot so I paint a neu­tral ex­pres­sion on his face but draw his torso bent to­ward the screen, as if he wants to see things more clearly. The woman is amused by the film so I paint her with a big smile, round out the cheeks and widen her eyes.

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