The Face | The Mouth | The Eyelids | Pupils of the Eye | Expression: Identifying – Intensifying Emotion | Eyebrows Identifying – Intensifying Emotion | Expression Chart | Smiles (Identified) | Smiles (Intensified) | Smiles (Vivified)

placement, with a purpose, tells a story or creates au impression for the viewer even before the face gets into the picture. As the head turns, its very outline communicates mood and prepares the viewer for the mes­sage that expression will carry. A lift of the head may suggest hope or assurance; a drop ... pensiveness or sadness; a tilt ... concentration.

Extreme positions of lift, drop and tilt have an emotional quality usually associated with feminine or juvenile characters; conversely, conservative positions with but slight lift, drop or tilt give the impression of restraint, stability and strength.

Positions attained by combining the head movements, such as a lift-tilt or a turn-drop-tilt, are effective and add the style to a pose that distinguishes the work of the finished artist from that of the beginner.

When your purpose is to express specific character and feeling, immediate impres­sion can be gained by starting with a posi­tion which, in its very outline, begins to tell your story.

Before we can note or direct head movement, we must establish the place from which we can define or distinguish all change: zero-position or true center-front.

From the photographer"'s point of view, zero is de­termined by the position of the model's head as viewed by the camera.

Her head is true center-front when, on the ground glass, a line through the lobe of each ear touches the tip of her nose, and her head­line crosses it at right angles.

From the model's viewpoint, zero position can be established when, using the camera lens as her target, she places her head-line parallel to the sides of the camera and aims the tip of her nose at the direct center of the lens.

With zero position mutually established, all movement can be directed and executed with sync­hronized precision.

TURN-«

TURN                                    LIFT-TILT                                  TURN

TURN*.                                      DROP                                        ►TURN

TURN -*-                              DROP-TILT                                TURN

 OPEN  OR CLOSED POSITION  OF  MOUTH MODIFIES  SHAPE OF FACE

WIDELY SEPARATED EYELIDS COMBINE SURPRISE  WITH  ANY  BASIC  EMOTION

THE FACE

functions mechanically and emotionally. The mechanical arrangement of the features creates the impression of character and attitude, while expression gives the viewer insight into the model's mental and emo­tional processes. Impression catches the eye, expression holds it.

To a helpful degree, expression can be planned and facial elements placed for the compatible effect of impression plus expres­sion!

THE MOUTH

effects a change in the shape of the face when it moves. Notice how a round, laugh­ing face becomes oval-shaped when the mouth opens to form words such as Hey! or Ah /, and how a thin face appears rounder when the mouth is closed to say Mmmmm or Wheel

The right mouth position can also cor­rect facial defects. For instance, when a smile exposes the upper gum, you will find that when the lips form the word Gee, the upper lip is restrained and the smile nor­malized.

THE EYELIDS

in extreme positions, project impressions which can be combined with basic ex­pressions for mixed emotions. Slightly parted eyelids add contemplation to any given emotion. Widely parted lids add a feeling of surprise if the white space ap­pears above the pupil or an element of vol­uptuousness if it appears below.

THE PUPILS OF THE EYE direct a viewer's attention by their place­ment. Here are four masks printed from the same negative. The first, without pupils in the eyes, is devoid of direction or message. Pupils were added to the other three masks, each pair focused differently. Study them. Notice how they orient attention and may even intimate expression. Eyes are magnetic. Eyes gazing directly into the camera establish contact with the viewer of the finished picture, while pupils focused away from the camera direct at­tention to other areas. The influence of the eyes' directional message should never be underestimated. It is a well-known dramatic fact that in group scenes, figures of secondary impor­tance must gaze at the main point of inter­est. No matter how large the group or how small the individual figure appears, the pupils of the eyes add or detract from the picture.

The eyelids normally part to disclose the pupils equally. Sometimes, due to an eye's sensitivity to light, or poor muscular con­trol of the lid, one eyelid droops more than the other. This inequality can be corrected if the other eye is closed for a moment or two and then opened slowly. As the strong eye reaccustoms itself to light, both pupils are revealed equal momentarily and can be photographed.

Except for comic effects, the pupils of the eyes should not disappear from view of the camera but should visibly aid ex­pression and direct attention. If eyes leave the camera axis 900 or more, (as happens easily in 3/4 head and profile views) only the whites remain to startle the viewer.

EXPRESSION

can be approached tangibly through drama. Skill in combining subtleties with show­manship enriches both artisan and artist. Drama in still pictures differs from drama on stage or in moving pictures in one im­portant aspect. Given time, an actor may portray an emotion with words and mov­ing gestures, building the viewer up to a climactic moment. A photograph has no such previous support for its emotional impact. One picture must tell all. Charac­ter, mood and message must be capsuled into one inclusive expression

Although we acknowledge the intangi­bility of emotions and their propensity for endless variety, for practical application, we have classified expression into four basic emotions: happiness, anger, sorrow and fear.

Each may be identified by the position of the eyebrows and intensified by the position of the mouth.

There is no single expression for any given emotion; each can be combined with other emotions for different shades of meaning. Our charts show not only the expressiveness of the face, but how facial muscles follow a pattern for the expression of each emotion. When the face is set in one of these emotional patterns, mental agility and showmanship on the part of the model can add spontaneity at any stage of its intensity.

Too simple to be true? Not at all. The expressions on pages 168 and 169 illustrate this point. The model was directed to the exact physical placement of her brows and mouth for each emotion, then at command she added reality and spontaneity to the expression. The results were consistent. Directing the illustrations for this chart of exact and comparative expressions ran smoothly for both model and photogra­pher.

A convincing emotion can only be ex­pressed with feeling from within. In many cases the thought used to stimulate a mood is unimportant as long as the expression conveys the desired message. For instance, if the assignment requires a model to ex­press ecstasy over the gift of a new, super-deluxe washing machine and the model cares nothing for household appliances -she should be able to look at the machine and react to a ... Hollywood contract.

When intense expression is called for, mugging should be discouraged. The re­sults are unconvincing and draw more at­tention to the manner in which the emotion is displayed than to the message or emotion itself. Expression should always be sincere without being grotesque.

In dramatic illustration, the nature of the character portrayed in any given situa­tion plus the stimulus dictates the kind and degree of emotion displayed. This might be reduced to a simple formula:

CHARACTER + SITUATION = EMOTIONAL0

nervous woman  + new cat = apprehension
young child        + new cat = joy
grown man         + new cat = indifference
same woman       + destructive cat = hysteria
same child           + destructive cat = fun
same man            + destructive cat — impatience

With the right expression, the viewer in turn, can correctly visualize the intended character and situation.

EYEBROWS IDENTIFY EMOTION   -   MOUTH INTENSIFIES

EMOTION

HAPPINESS         ANGER          SORROW           FEAR

EXPRESSION CHART
HAPPINESS     HAPPY-SURPRISE      ANGER       ANGRY-SURPRISE

BASIC AND MIXED EMOTIONS

SORROW    SORROWFUL-SURPRISE       FEAR     FEARFUL-SURPRISE

SMILES CAN BE IDENTIFIED

	1.         SEE PAGE 171      Each of the five major types of smiles reveals personality in an attitude of its own. Mischievous smiles are generally used by the young or fun loving. They portray the model flirting with tempting thoughts of harmless play ... a trick ... a joke.
	2.         SEE PAGE 172     Shy smiles are generally used by the young, the unsure. They intrigue by their win-someness. Their demure or coy attitude expresses a happy but timid acceptance of circumstances.
	3. SEE PAGE 172 Agreeing smiles have a satisfied air becom­ing to all ages. They state happy affirma­tion of what one sees, feels or says. They put a seal of approval on the situation.
	4. SEE PAGE 173 Questioning smiles are the tongue-in-cheek smile for all. They hint a ready wit and sense of humor and wait for an answer with a merry twinkle.
	5. SEE  PAGE 173 Glad-to-be-alive smiles are vivacious smiles for all ages. They sparkle with a healthy mental outlook appreciating the joide vivre.

AND  INTENSIFIED 1.  MISCHIEVOUS SMILES 7" would be wise to realize A smile is started in the eves.
	"M-M-mm”	"Ummm!"
If begun in proper place It will follow down the face.
	"Yes”	'Kiss? Yes!1
Mouth positions quickly show How a smile can beam and grow!
	'Eee”	"Gee! Me!
Form the word that helps express Your degree of happiness!
	“Hey"	"Say!  Hey*
Notice when mouth opens wide Laughter brims from deep inside.
	"Ah!”	"Hah!"

2. SHY              3. AGREEING

SMILES CAN BE VIVIFIED!

Vivacity is a finishing touch, it is added af­ter the face has already shaped the imme­diate impression of happiness. A clear con­ception of the basic personalities and in­tensities of smiles helps you to suggest, duplicate and alter any smile. Eyes are the life of all smiles. They must say something ... and they must see some­thing. Proper eye focus makes a smile flow in the right direction. When the director specifies a focal height or distance, the model must imagine something at that spot. Eyes focused on the floor might see a kitten; at eye-level... a person; upward ... a bird; or, in the distance ... a sailboat. Sometimes dreamy eyes are not looking at anything in particular. They are actually searching for vacant spaces in which to paint pictures the mind sees. Dreamy eyes usually avoid direct contact with people and cameras.

Mouth positions can be prescribed by the use... [Chapter Incomplete]

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