Table Of Content

To Henry, Frieda, and Pamela Copyright © 1990 Watson-Guptill Publications All rights reserved. Published in the United States by Watson-Guptill Publications, an imprint of the Crown Publishing Group, a Division of Random House Inc, New York www.crownpublishing.com www.watsonguptill.com WATSON-GUPTILL and the WG and Horse designs are registered trademaks of Random House, Inc. Library of Congress Cataloging-in-Publication Data Faigin, Gary, 1950– The artist’s complete guide to facial expression / Gary Faigin. p. cm. Includes bibliographical references. Includes index. 1. Facial expression in art. 2. Art—Technique. I. Title. N7573.3.F35 1990 704.9’42—dc20 90-48379 eISBN: 978-0-307-78646-3 Senior Editor: Candace Raney Associate Editor: Carl Rosen Designer: Robert Fillie Production Manager: Ellen Greene Production Coordinator: Marybeth Tregarthen Typographer: Trufont Typographers, Inc. Distributed in the United Kingdom by Phaidon Press Ltd., Musterlin House, Jordan Hill Road, Oxford OX2 8DP Illustration credit: itr.3— Vasily Baksheyev, The Prose of Life; 1872; Tretyakov Gallery, Moscow. v3.1 Acknowledgments T his book might have remained nothing more than a passing idea had it not been for the initial encouragement of my erstwhile instructor and friend Robert Beverley Hale. In more recent times, Carl Rosen and Candace Raney of Watson-Guptill did more than perform their editing tasks with style and dispatch; they communicated to the author an enthusiasm for the book no publishing contract can guarantee. Johanna Bartelt shouldered the marathon task of obtaining reproduction rights from museums and agencies around the globe; I will never again take the illustrations in a picture book for granted. And rather than single out any one thing to credit to Sallie Gouverneur and Pamela Belyea, I’ll just say that without their various services over several years, this book would never have appeared. The work of Dr. Paul Ekman was of crucial importance both in terms of describing the expressions and analyzing the muscular actions that create them. Other individuals whose help was much appreciated: Nick Ullet, Terry Brogan, and the 13th St. Repertory Company, who provided acting services; the persons at the United States Information Agency who helped contact museums and foreign companies for picture rights; Richard Rudich, who was always available with a “cold eye” and an encouraging word; Judy Wyer, who did valuable research; Claudia Carlson, who reviewed parts of the manuscript; and Don Poynter, who, together with my Art Students League Saturday class, helped in many ways. Others who should be singled out include: Bill Ziegler; Rhoda Knight Kalt; Ray Harryhausen; Elliot Gold�nger; Milton Newman; Patricia Belyea; Howard Buten; Rosina Florio; Dr. Robert Bell; Kyle Wilton; Lee Lorenz; John Kohn of Pro Lab; Jill Herbers; Phil Murphy; Scott Wilson; Arlene Smeal; Robin Weil; Elizabeth Valkenier; Max and Ruth Soriano; Commander Jim Belyea; Claire Gutman; Charles Haselo�; Howard Buten; Joel Kostman; Eli Levin; Marie-Genevieve Vandesande; Shoshanna Weinberger; Janet Hulstrand; Stashu Smaka; Sybil Faigin; Edward Maisel; Ken Aptekar; Joel Miskin; Laurel Rech; Alexandra Baltarzuk; ABC News; Borden Company; Guinness Company; Stephen Rogers Peck; Kay Hazelip; and �nally, all the friends, family members, and students who modeled for the illustrations. Gary Faigin o�ers workshops and classes around the country. For further information, please contact: The Academy of Realist Art, 5004 Sixth Avenue NW, Seattle, WA 98107. CONTENTS Acknowledgments INTRODUCTION Part One THE STRUCTURE OF THE HEAD GOING BENEATH THE SURFACE CONSTRUCTING THE FEATURES Part Two THE MUSCLES OF EXPRESSION THE NATURE OF THE FACIAL MUSCLES MUSCLES OF THE BROW AND EYE THE MUSCLES OF THE MOUTH Part Three THE SIX BASIC EXPRESSIONS EMOTION AND THE FACE THE EXPRESSION OF SADNESS THE EXPRESSION OF ANGER THE EXPRESSION OF JOY THE EXPRESSION OF FEAR THE EXPRESSION OF DISGUST THE EXPRESSION OF SURPRISE CONCLUSION EXPRESSIONS IN BRIEF EXPRESSIONS OF PHYSICAL STATES INDEX CREDITS AND REFERENCES INTRODUCTION “Charles, I’ve had it with you and your goddam moods.” T here is no landscape that we know as well as the human face. The twenty-�ve- odd square inches containing the features is the most intimately scrutinized piece of territory in existence, examined constantly, and carefully, with far more than an intellectual interest. Every detail of the nose, eyes, and mouth, every regularity in proportion, every variation from one individual to the next, are matters about which we are all authorities. We’ve come to know the face so well because it’s so important to us; in fact, it’s the center of our entire emotional life. From birth to death, the face links us to friends, to family, to everyone meaningful to us. Few things are capable of moving us as deeply as the face of a loved one; nothing interests us as much as looking at that same face, in all its moods, in its evolution over time.