carvingúce'

The Exaggerated Expression 27

Figs 50 to 53 show the deep folding of the cheek *med by this action in contrast with the morÄ™ tightly 'etched opposite cheek. The forehead is deeply .'rowed and drawn in towards the centre. The lines â€¢ the face focus our attention on the eyes, which are de open and staring, re-directing our attention to object of his gazÄ™. What makes the stare so :ense is the contradictory naturÄ™ of the expression. ormally, a frown of concentration would indicate : ewed up or half closed eyes. The wide open stare ntradicts this and is therefore unusual. Although ~ore natural I feel the half closed eyes would suggest : .'eater degree of confidence whilst the staring eyes ~rrm to suggest a frustration bordering on madness.

However that may be, it is certain that tiny changes in the face will affect it greatly.

Notice also that the face is not aciually very de-tailed. Only major features are carved — large folds of skin, prominent furrows and forms. There are no smali wrinkles and folds to confuse the situation — the face is in fact simplified and stylised like a mask.

The main point is that you must decide on the expression you want and do everything to enhance it. Imagine for a moment that Harlequin's eyebrows were raised high instead of being lowered. The face would then become a simple-minded Stan Laurel type of character. Once you understand the face, tricks like this can be played to your advantage.

coosite, Figs 50-53