Drawing Genuine Facial Expressions (Part1)

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>> Hey, guys.

It's Toniko Pantoja, and today, I'll be
talking about how you can draw convincing

and genuine expressions on
your characters' faces.

A skill like this is very useful when
you're trying to come up with drawings

that convey storytelling, and
a lot of the storytelling comes

from what emotions the characters
are going through

and how they can tell us more
about the story or the scenario.

This is a great skill to have.

Especially when you're character designing,
you're going to make expression sheets

of your characters for yourself or
other artists and animators to use.

And when I talk about genuine expressions,
I mean expressions that don't feel generic

and that convey more than just an expression,
but convey more of character thought,

more of character attitude and personality.

So right now, I advise you to get yourself
a mirror or use your phone and turn

on the selfie mode so you can
actually see your own face

and study the nuances your face is doing
while pulling off some of these expressions.

So, in other words, you're going to have to be
able to act and feel what your face is doing.

So first, let's look at five basic
expressions that you can look at.

I'm going to be looking at neutral.

Neutral is a very gray and idle expression.

You can't really tell what
the character is feeling.

It's just blank, or in other words, maybe it's
your character in their most natural state.

The second being happiness, so this
includes emotions such as joy, relief,

anything that involves smiling, maybe laughing.

The third being sadness, so someone
crying, remorse, tears will fall,

lips will quiver, etc., etc. Then there's anger.

This is pure-on rage, just frustration, so
there's going to be a lot of teeth gritting,

frowned eyebrows, and just the
actual snare from this expression.

Then there is surprised and shock, so this
involves people being startled or gasping.

So, you know, eyes wide open, mouths
wide open, everything is just open.

Now, there's three reasons why I
chose these five basic expressions.

One is that they're very easy to read.

They can be bold, so it's instantly readable.

The second being that they're an
extreme of a certain emotion or feeling.

They're all different from each
other, but they're extremes

of a sort of emotion that they're facing.

The third reason being that each of these
expressions introduce some new nuance

in the facial expression, or what the
face is doing, like what the eyebrows,

the mouth and the eyes are doing
to give off that expression.

So from here, I'm just going to study some
google images that I just found randomly online

and break them down, and I'll show
you guys what I'm thinking about

or how I'm studying these expressions.

Let's talk about the neutral
expression really quickly.

So I didn't really know how to explain the
neutral expression until I saw this emoji.

And one thing I can say about this emoji is

that you can't really tell if
it's happy or sad or angry.

It's just in a blank state.

So if we were just to break down this
expression, and I draw over these

with just lines, you're going to get almost,
somewhat of a graphic resemblance of that emoji.

You know, nothing is really just
-- nothing is really flared up.

It's just static.

It's just blank.

You can't really tell what the expression is.

You'll also notice that some of the features

of these people's faces have different
characteristics, such as arched eyebrows.

So naturally, someone would
look more aggressive and angry.

Like this woman here, like, her brows
actually arc downwards towards the nose,

so it already makes her look a bit angry.

Whereas some people, you know, they're --

they have more gentle eyebrows,
so it's a bit more straight.

Same with this guy, I think this
guy has the most neutral expression

out of all these pictures that
I found, again, really blank.

You'll notice that all of these sort of have the
same neutral expression as our emoji right here.

Let's look at the happy expression.

One thing that we can quickly point out
is how all these individuals are smiling.

Now, unlike the neutral expression, we're
actually introducing a few more several things

on the face that indicate that this person is
happy, or they're smiling, or they're in joy.

So, if I were just to do draw-overs, I'm going
to tell you guys what I'm seeing immediately.

First off, is that smile.

So the corner of the upper part of the
mouth actually go upwards this way,

so that's the arrow indicating that.

Depending on the person's genetics, either
their teeth, their upper teeth show,

or only their lower teeth,
or sometimes it's both.

It really, really depends on the person.

It depends on your character design, too.

Another thing that I want to take
notice about these, about this smile,

is that the cheeks will actually work with
the contour of the mouth and the face.

So you get that really fleshy
element, or that factor of the face.

These cheeks, so if you're actually
designing characters for animation,

you're going to actually want to
think about the squash-and-stretch.

This actually helps things feel a bit
more tangible, that squash-and-stretch.

Now, if we were to look at this guy too, we can
actually see that squash-and-stretch happening

on the cheeks too, whereas the jaw,
the bone, you know, if we harden that,

we can actually indicate, okay, this is a hard
surface, whereas the cheeks are more soft,

and therefore they're prone to more shape
changes depending on how big the smile is.

Now, if we look at the eyes too, of
these figures or these examples, is that,

because of the cheeks, maybe the lower
part of the eyes actually flare up too,

and the eyes are more relaxed and gentle.

And we'll talk about this the
more I break it down, even more.

This girl here, this woman here,
more exaggerated smile, you know,

now there is a bit more tension
with the eye language here.

And sometimes, if the smile is really big,
and the cheeks are actually working with that,

the nose will actually start to
flare up, so let's indicate that.

These are the cheeks.

And even though this is a realistic smile, you
know, when it comes to character designing,

you're going to want to exaggerate it,
and we'll talk about that later on too.

Sometimes, if the smile is, like,
really big and there's a lot of tension,

maybe there's a bit more
tension in the eyebrows too.

So, you know, think about
the cheek contour here.

This girl too, she has really cheeky cheeks,

meaning that there's just more
contour on her cheeks naturally.

When it comes to, like, actual
character design, you know,

you don't have to be incredibly realistic,
because the thing about animation is

that we're going to actually design
characters that may have more bold

and graphic features, but
these are more realistic.

This one's more of a gentle smile.

I would say it's very similar to this guy.

It's more relaxed.

This person has a really great smile, because
you can really tell from the shape of her mouth,

is that the corners of her mouth, or
the sides of her mouth actually flare

up that way, or they go like this.

So that's where -- that's
when we get that actual smile.

You know, cheeks too, that helps.

More relaxed eyes, so one thing I want to point

out with the more relaxed eyes
is that the fold, more visible.

It's not -- you know, the eyes aren't wide open.

So when they're halfway closed, you'll
see more of that fold immediately.

Now, let's look at sad expression,
so these are expressions consisting

of people crying or being depressed.

And again, like the happy expression, these
introduce a lot of new factors on the face.

Now, we're having more tension in the eyebrows.

There's this indication of
pain when we look at it.

We're introducing how the depressor muscles work
on the face, so now the lower part of the lips,

the sides, actually pull you down this way.

And to really indicate or sell
that sadness, you get this --

you get shape languages that
indicate that crease.

And if it's really stretching
that face downward,

so let's say the force is going this
way, there's going to be more contour

or more indication of that cheek going down.

Now, let's look at this kid over here.

And this kid, we're looking at
this shape language of the eye,

so that tension of an eye just
going like that, and then upward.

So that creates that tension of
-- it's not angry, but it's sad.

It's in pain.

If you look at yourself in the mirror
and do this expression, you'll --

your eyebrows will do the same thing too.

The sides of the mouth actually go a bit
more down, and we get more indications

of that depressor muscle over here.

Now, this dude is -- you know,
he's -- it's more subtle.

It's more like he's in pain than these two.

These two are just downright,
you know, sobbing, but this guy,

he's just more in, like, deep thought and pain.

So again, when we're looking at that eyebrow,
we're getting this shape language where,

you know, it starts going up, like that.

Milt Kahl does this type of
eyebrow a lot on his characters,

but it's this graphic shape that's going on.

And you can really, really just feel that pain.

Even though it looks like she's smiling,

there's a lot of indicators
still that show that she's sad.

So even though it looks like she's smiling,
a part of it looks like it's doing a shape

that goes like this, just to feel like it's --
I mean, it's part of her facial features where,

you know, if she may look angry,
she might look like she's grinning.

It's probably a genetic thing.

This is kind of really cartoony
here, and it's introducing a lot

of things I haven't really addressed yet,
which is, even though it has the eye tension.

Most of these figures that I've drawn
over had their eyes mostly closed,

but this guy, it's kind of cartoony.

It's almost like a puppy dog where, you know,
he's looking up, so you get a lot of that white.

This is, yeah, really, really
cartoony to me, especially here.

This is almost like a cartoon now that I look
at it, but you can see those depressors at work.

And if you really wanted to show that tension,
you can show that tension in the chin.

If you're thinking about your
own chin doing these movements,

it's actually flexing, so add those indications.

This kid is in turmoil, very similar
to this kid over here, actually.

This kid is in turmoil.

This mouth shape here is a bit more ambiguous,
whereas this one is a bit more clear to me,

because you can actually tell that
it's coming down, and it gets --

you get that quiver going on, on the lower
lip, so this actually helps sell it even more.

So these are like great examples that I would,
you know, look at or think about when trying

to come up with these expression.

You know, I'm just going to go draw over
these really quickly so I can show you guys,

clarify some of my points, the cheek, the
depressors, you know, the chin flexing.

And just by drawing over these, it's
like, holy crap, I'm learning things

that I didn't really think about.

You know, this girl kind of
looks -- she just looks bored.

You can tell someone how they -- if they
look bored or not, but if you add --

if you exaggerate some of those
things I mentioned, such as that eye

and the mouth actually pulling itself down on
the lower ends and that quiver on the lips,

it actually feels a bit more sad.

All right, now let's look
at anger as an expression.

So these are people who are
in rage or they're just mad.

So if we look at this and break down each of
the facial nuances, clearly one of the things

that we'll immediately see in an angry
person is the tension and the arced eyebrows

that go downwards from going
into towards the nose.

This already indicates that
this person is, you know, upset.

Now, this is more of a rage to me.

It's more of a very powerful expression,
but if you can look at this image,

notice how there's so much
more whites in the eyes.

So this is just to give intensity or the
contrast of something that is from calm

to something that's just so outright mad.

And now, we're looking at the mouth,

and now we're seeing some distinct
mouth shapes that indicate a grimace.

So besides the wrinkles here, we're
looking at the upper corner of the mouths,

and notice how they kind of flare up
outside, towards the outer side of the mouth.

You know, now that we indicate -- I
think, to me, when we show the teeth now,

we're really showing this person is just mad.

Now, this one's also a different take.

This one's more of a Clint Eastwood-style
of anger, where you still get the tension

of the eyebrows going that way, still.

We get wrinkles and tension and creases,

but instead of the eyes being outright
open, this one is more of a squint.

It's more of a leer.

So, you know, because this
expression is so powerful,

this model that I'm using
isn't as cartoony or enraged.

It's more of like concentrated anger to me.

But again, look at this.

Upper parts of the mouth actually come
out this way, but it's not a smile,

because we have the lower parts
of the mouth still going that way.

If it was a smile, we'd cancel out that
direction and just go straight to a smile

like that, but because this person is so angry,

we see the corner of the lower
mouths going outward this way.

And again, with anger, we're
expressing more of the teeth.

This is just to show that rage.

And if you really want to indicate
it, you can use wrinkles too.

Now, this one's more of a pout.

It's not exactly as exaggerated
as the previous two models.

So this one, again, is doing the
squint, but then the mouth isn't open.

We see the nose flare out.

We see all these tensions and
creases by the nose and the eyes.

You'll notice this in dogs
too, when they snarl at you.

And now, we see the upper part
of the lip going up that way.

Let me look at this one first,
because this one is more of a,

you know, a leer, just a dead stare.

This person doesn't really
have any strong wrinkles here,

but you can still see the tension
of the brows towards the nose.

And if we look at the eyes, this is someone
who's kind of like tilting downwards.

You know, their head is facing towards you
more than their face, and what this makes,

especially when the eyebrows are going
down, is it creates this leering effect

where the eyes are looking up or
straight ahead, and there's so much, like,

white information between the pupil --

I mean, between the actual black part of
the eye and the white part of the eye.

Now, this isn't open-mouthed at all,
but you can still see like that tension.

To me, what really sells that anger is this
wrinkle by the nose and the cheek, you know?

Just these things feel angry to me,
and then the muscle flexing over there.

You know, I feel like this one is more of
its anger, but it's also concerned too,

because I feel like the eyebrows
are kind of going like that.

And if we just break it down, there's
so much white space in the eyes, too.

It would look like that if it was more
cartoony, more wrinkles to indicate the tension

of the eyes, more of that
wrinkle and crease by the nose.

And for the mouth, you can see that the
upper corners of that actually flare up.

Since this is more state of
surprise, to me what sells it

as anger is just all that mouth information.

You can actually see a lot of the
mouth and you should be seeing

in a person's facial expressions.

This one, again, is as subtle as this
girl, very close to this guy, actually.

So if we were to break it down,
you know, it's kind of like a leer,

more white space between the black part
of the eye and her -- the actual eyeball.

This one's more of a subtle expression of anger.

And if you really wanted to sell
this, you know, this is subtle enough.

This person's clearly pissed, but if you
really want to sell that grimace, you know,

just add more -- I would just indicate more
of the snarl between the nose and the cheeks.

Now, this one again, is also having
more of that Clint Eastwood look to it.

There's all that crease, but because there's
so much tension going in the face as a body,

the eyes aren't really wide open.

They're just snarling at you.

It's not really smiling.

It's more of that shape language going on.

And again, that teeth, that
grimace of that teeth, to me,

again, sells that indication of anger.

Now, let's look at surprise or shock,
and this is different from some

of the rage expressions that I showed earlier.

With shock and surprise, you'll notice that a
lot of these are very similar to each other,

but they also introduce some new factors,
such as the face just being wide open.

To me, this is the face in
their most stretched position.

To me, this is pretty obvious, but for
me, when I think of surprise and shock,

I look at expressions that are
just wide open and stretched.

So let's analyze this carefully.

Even the eyebrows are just flared upwards,
so the eyebrows are flared upwards,

even the eye itself is really, really wide open.

So there's a lot of white space between,
like the actual eye and the eyeball.

Sometimes, if the face is really flexible,
even the nose would stretch too, so again,

thinking about stretch and this face is
just like an "Oh," like, "Oh, my God" face.

And if you're animating characters and
facial expressions, you're going to realize

that between the cranium and the jaw,

this together with the jaw being
open creates a nice stretch

between the actual cranium and the jaw.

Same deal with this dude too, wide
open, everything is just wide open.

It's a stretch.

If you followed my animation course, I
talk a lot more about squash-and-stretch,

and how it applies to facial
animation too, but here I'm just like,

really, really selling the point.

To me, because it's not really angry, there's no
tension in the mouth or the snarl in the mouth.

It's just an O, wide open and,
you know these guys have it too.

It's not exactly an expression
of, like rage or anything.

It's more of surprise.

So, you know, there's not really tension.

It's just like, "Oh my God."

If you were to act it out yourself, you'll
notice that your nose doesn't flare out.

There's none of the nose
like flaring out like that.

That's more of anger or real tension.

This one is just -- here, it's kind of
relaxed, but it's still a wide-open expression,

and it might cause some wrinkles
or creases in the face.

This dude is also really cartoony, by the way.

It's almost the same concepts as these
two, but again, really, really cartoony.

If you really want to sell that surprise, what
you can also do is shrink the actual eye itself,

or the pupil, so he just looks really surprised,
or sometimes even crazy, if you think about it.

I talked about the snarl.

If you really want this guy to be really,
really mad, you know, add some tension here,

and then add the grimace of these.

And then show a lot more of the teeth.

Sorry, these are, like, horrible teeth.

You can show more of the teeth like that
but, you know, we're not doing that.

It's just a relaxed O-face.

There's no real tension going
on, aside from, you know,

the facial expressions being really wide open.

So, you know, one of the characteristics
you'll find is the eye itself being really,

really wide open.

This guy is more subtle about it.

It's more in the eye language.

So what we're going to do later on is actually
break down or redraw, you know, each of the eye

or the mouth by itself, and how
we can tell these expressions

through just looking at those alone.

Whenever I study from reference, whether it's a
video, a photography, or even a character design

or a drawing, I like to gather and break down my
notes and give myself reminders of what to keep

in mind when recreating these things.

So speaking of re-creation, let's now recreate
these emotions from scratch from our studies.

First, let's do the neutral expression.

So for me, when it comes to
just the neutral expressions --

I'm just going to draw the head very quickly and
briefly -- I'm just thinking of very neutral,

blank, not exactly emitting
any sort of emotion right now.

So like the emoji that was shown
earlier, it was just a blank expression

without any clear indication of
what this character is feeling.

Depending on the character design or
the personality of your characters,

your characters' relaxed faces can actually
lean towards one side of the personality.

Also, that the mutual expression that they
carry might have some sort of attitude

that does lead towards one side, so
maybe someone's neutral expression,

if they're bored all the time, their neutral
expression would just be more bored looking.

I'm just doing these really quickly.

So let's say these are neutral.

Sometimes, if the character has
characteristics where their eyebrows are arched,

there will be other factors in the face
where it's not really emitting any emotion.

This is just characteristics.

They have arched emotions,
but if you look at their mouth

and their nose, nothing is in tension.

You know, there's no tension like that.

It's really just -- it's static.

So you can tell if something is in a neutral
or a relaxed pose if there's no other tension.

You know, some characters, their neutral poses
or neutral expressions might consist of them,

you know, smiling a bit, but again, you're not
really exaggerating any tension here and there.

Now, let's quickly recreate
the happy expressions.

Now, the first characteristic of a happy
expression is to smile in the mouth.

So if I were just to quickly draw the head --
and I'm not really focused on trying to come

up with the most solid head; this
is just for expression's sake --

is first the mouth would curve downwards like
this, like a smiley face, and then I would think

of it as an arrow, a double-edged
arrow going like that.

So this is one of the most basic ways to show
that smile, depending on the character design.

So, you know, the eyebrows can be relaxed.

And the reason why I'm bringing up
"depending on the character design" is

if your character has rubbery facial features
or has flexible facial features, you know,

their cheeks, this would affect their cheeks.

These cheeks might also affect their eyes
too, to make a believable smiling expression.

Now, there are many ways we can
tackle the happy expression, actually.

There's the one where the
eyes are kind of closed too.

So if I were just draw a big, big
smile with just the teeth, you know,

you don't really see the eye open.

And what I'm thinking about for the
eyebrows for the happy expression,

is that it's really raised
high up and it's really happy.

Sometimes the happy expressions
can be really, really subtle,

and then the eyes itself could just be relaxed.

So, you know, sometimes when I want to
show relaxed facial features or eyes,

I kind of make the eyes more relaxed-looking,
but this kind of just looks like he's, you know,

either tired or really too relaxed.

But for happy expressions, I would think of,
you know, the cheeks really opening it up.

So I'll do one more that's
sort of in the lines like this.

You can really exaggerate that smile
if you really, really wanted to.

And again, if your character design has
flexible cheeks, you're going to want

to treat the cheek as its own piece of flesh.

This is probably not the best expression, so
sometimes I like to keep working on something.

Now, let's try recreating
sadness from our studies.

So with sadness comes with an
emotion, or the feeling of pain.

And when I think about pain, and when I look
at myself emitting pain in front of a mirror,

I'm really paying attention to some of
the tensions that my face is causing.

So my eyebrows would be a bit more tension.

There'd be more tension.

It's not exactly, you know, just sad like that.

I feel like pain, the tension of pain,
would make the eyebrows sort of squint a bit

and then curve up, so it's kind
of like a look of concern too.

So depending on how you want to show sadness,
either it's a pain sadness, it really depends.

All right, so for the mouth, you know,
now we're having our depressors in work.

So the lower corners of the mouth
here would actually pull the mouth

down to create that sense of sadness.

What I showed earlier with some
of the expressions of sadness,

and some of them are really, really
cartoony, like puppy dog eyes.

You can do that too.

Usually the mouth, for a
believable sad expression,

pulls down from the nose, so
it would pull down like that.

And then you would exaggerate the
eyes, the white part of the eyes.

So let's do one where the character
is really, really just crying.

It takes longer for me to do
things like sadness and pain,

because you really have to feel it out.

Now, we're doing, you know,
someone just like outright crying.

Now, we get those depressive mouth shapes,
pulling the mouth down from the lower corners.

So when I think -- when I'm talking about the
lower corners, I'm thinking about these bits

of the mouth, and I'm spreading them around
width-wise, and again, just showcase that pain.

If the mouth is really, really big,
you know, you want to emphasize

that with the creases of
the cheeks of the mouth.

And for the eyes, for eyes it
really depends on how things go.

It can -- you know, it can be like a more
relaxed shape, but if it's really downright,

really crying, I flip it upside down, but
again, you can have eyes that are puppy-eyed.

Another way of expressing sadness
is maybe a sadness of defeat, no?

So that involves, like, something that's
a bit more relaxed, maybe like the eyes,

even though they're still in pain and tension,
like the happiness I was doing earlier,

maybe you can exaggerate the fold.

Now, let's try drawing anger.

Anger is actually one of my favorite expressions
to draw, because there's just so much activity

of tension and rage and, you know,
those are my favorite emotions to draw.

So when it comes to drawing rage, you know, your
eyebrows would classically just go like that.

So the same applies for here, too, so I'm
just going to draw an outright really,

really mad characters, like standardly mad.

Usually, to show intensity in the eyes, you have
more white space in the eyes, and you show a lot

of the creases between the
flaring of the nose and eyebrows.

If you have a pet dog, and you see it growl,
you know, you can tell it's really pissed

when it starts flaring its
teeth and stuff, its nose.

And for the flaring of the mouth,
unlike sadness, where I showed its --

the depressors are pulling
it down from left to right,

now you get that that upper
part of the mouth lifting up.

You still can get some of those mouth movements
down here too, to really sell that movement,

but most of it is you're really showing off how
angry you are by the grimacing of your teeth.

And then sometimes the anger could just
be a downright stare-down, you know?

So if the head is tilting down --

sometimes, another tip when drawing convincing
angry expressions is usually you have the head

facing down, is to show that
sense of aggression.

You're just looking down at them
like wanting to beat them up.

You can even add -- depending on your character
design, you can even add creases to the cheeks.

Sometimes, if the character is like downright
enraged, you can really, really stretch out some

of the facial features, such as a
squash-and-stretch, really open the mouth.

Again, I'm thinking about the
grimacing of the teeth And now,

for here, the eyes are just wide open.

Like, this dude's a maniac.

He's just crazy right now.

So, you know, that's one other way of
showing someone really, really angered.

And you can even, like, break the symmetry
in the eyes, and we'll talk about that

in a later chapter, where I do talk about
the design element of believable expressions.

Here, let's try one more, and this one is more
of the Clint Eastwood-type of anger where,

you know, the character is
really, really, just squinting.

He can't even open his eyes
because he's just so mad.

Some people are -- you know,
everything is just so much in tension,

their eye creases, their eyes, their cheeks.

So it's kind of like this
really frustrated type of anger.

And if you really, really want to sell that
anger, you know, sell this arc even more.

Many ways to show some sort
of -- the expression of anger.

Now, let's do surprise and shock, and
this really depends on the expression

or the emotion the character is feeling.

It can really determine the type of face
this character is going to pull off,

but usually when I think of shock, and from our
studies that we did earlier, the eyes are just,

like, wide open, and the
mouth too is just, like, whoa.

There's even expressions where
the shock can be more terrified.

So when I think of shock and terrify, I think
of those depressor mouths really pulling down.

And now, there's a bit more of that
straight == the straights in the eyes.

And then, let's think about more enraged.

I feel like I've covered this one
already, but let's say we do a shock

or surprise that's more,
like, just so full of tension.

Notice how these eyebrows are soft, but
these ones are more -- there's more straight.

So this feels more aggressive than this.

And I think I'm talking about
these things way too early on.

We're just trying to recreate those
expressions that we talked about earlier.

So again, that's more -- that's
really more raged or anger.

It's not really too surprised.

What about a more subtle shock of surprise?

It's really the eyes that sell it.

The eyes are the ones, to me,
that sell that feeling of shock,

whereas the eyes are just wide, wide open,
because, like the study that I showed earlier,

you know, one of them had a mouth that was just,
like, open like that, but because the eyes,

now we're looking at the eyes,
they do more of the work.

They do most of the work that's
telling us this person is surprised

or really, really shocked about something.

Well, there's other moments
that can sell shock too,

and this is more of a character acting
thing that requires more posting --

I mean more posing besides the face.

So if I had the character, you know, cover
his mouth, this is just an acting choice,

and then you have the eyes really, really
wide open, then you can really sell

that this character is shocked, but because
this person is using other body languages,

you're still selling that emotion
without having to utilize the mouth.

But, you know, one thing I do want to talk
about when utilizing the mouth is really think

about the stretch in the
mouth, the jaw and the head.

And notice how this, the lower
mouth, is really close to the chin.

And some might say, "Oh, wait.

That's not technically right."

There is a case in that too but, you
know, someone once told me that, like,

if you think of the human anatomy,
the jaw actually tilts that way.

So, you know, what you're
looking at from the front view --

and if the character is like even tilting
forward too now that you have this, you know,

if the camera is facing that way,
you're not going to see too much

of the jaw itself, or the chin I mean.

When doing this exercise, I want
to remind you that you might want

to do multiple takes of a single emotion.

Like the references I found for each emotion,
each person had a very different facial nuance

that they displayed when
emitting this sort of emotion.

There's many ways to show happiness and
a bunch of other ways to show sadness.

Don't just have one image of sadness.

Have a bunch of them in your mental library.

And even though I just covered
only five basic expressions,

there's so many ways you can
approach each of these emotions.

Although the five expressions that I chose were
basic, you can tell there's a lot of nuances

that you can learn from each of them.

Next time, I'll talk about coming up with more
complex and specific emotions using acting,

performance, drawing strategies,
and some advice,

but for right now, that's
a video for another time.

Thank you for watching and
stay tuned for the next part.

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