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Much more fun is the pattern of expression in the comics: the depiction of emotions can be achieved either through the gestures of a body through the expression of a face.

often forget what the difference between drawing the face of a character and soul, that give their emotion.

L ' ANIMATION is the study of motion and emotion : You create a character that is convincing and that the public can love or hate.

To create a character it is therefore necessary to equip it with different expressions: sometimes one can add or change some features, as we have amply seen in the design of human expression.

Even comic characters, in designing the various expressions, are primarily interested in eyes and mouth. The eyes, the eyebrows together, have the key feature to communicate better than any other part of the body, a state of mind.

addition to the eyes, eyelids and eyebrows also help to determine a precise sense: it is enough arch in the right way and you'll get the expression desired.

The mouth is a detail of the face just as important, that communicates a specific meaning and it is the eye-mouth combination that makes it perfectly understandable state of mind of a comic book character.

Let us now, after the necessary theory to practice:

1. First, a angry faces

E 'for excellence of the eyelids and above the eyebrows, where the internal curvature comes down that we get the desired result. The mouth is half-open and grinding his teeth.

The application of color is very useful to help to define this type of expression: in fact, if we color red the face of our character, it is apparent that this guy is angry.

2. In much the same way we proceed to the second example, on a FACE ALLEGRO

In this case the eyebrows turn their internal bend upward. Even the smiling lips have corners pointing upwards.

There are dozens of expressions that same character can take ...

... in this sequence we are seeing the main, to which reference may be made to achieve further.

images just seen now allow us to measure ourselves to draw other expressions:

fearful faces

To define the image of a character "scared" You must enter an expression generated by grainy eyelids, eyebrows stretched to the max: the whole sum for his sudden state of fear.

mouth, then, defines the image with a likely scream of terror.

We must now make a stern face

In this case the eye, to communicate a stern expression, must have eyes like this, eyebrows and lips with this configuration.

And now here is the image of a character Permal represented by this cute little dog:

The touchy, by its nature, has a particular physiognomy, ie a certain type eye, mouth and nose.

For expression SURPRISE the procedure is similar:

This character expression takes surprise thanks to a certain type of eye that is wide open, eyebrows, eyelids following the hoops (seem locked in a position of paralysis), the mouth is half open, as if it were left without words.

Let's see how you draw a character Weeping :'s face being that of a man very sad. Tears make the image clear.

I have explained the expression far more applicants, those who undertake the often comic artist.

's also interesting to say:

1. the effect of changes of expression can be effectively increased, if we resort to appropriate deformation of the body or parts of it: a sudden impulse, for example, is increased by an elongation, while a barely contained anger, exaggerated by a crushing ;

2. each facial expression is accompanied by a relative and complementary movement of the body, arms and especially hands. This further helps to reveal a character's mood and to make the reader participate in a balloon.

Exaggeration and gestures, however, require further study part: I will then examine them in more detail later.

EXERCISE: Stand in front of a mirror and analyze all the expressions that you are capable, from the cheerful to the more sad. So trying to establish the characteristics of each of them, cataloging them according to the position of the eyes, eyelids, eyebrows and lips.

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exasperation Movements

Once acquired the method to implement the expression-based it is sufficient to understand how, starting from the latter, one can arrive at expressions and extremist positions. Typically simply exacerbate the movement of certain facial muscles to switch -expression based on a decidedly more "load", louder.

example below we can see all the steps from the base figure (male face front standard) up to the next expression, direct derivation of the latter.

EXPRESSION BASE - against - afflicted (from left to right)

As we can see the shift apologetic expression that is afflicted with a narrowing of the eyes, a centralization of the position of the mouth and a substantial increase in the expression of the wrinkle of the forehead and chin.

EXPRESSION BASE - Frowned - angry

But here, in the transition to the angry frowning expression, as well as with the increasing position of the eyebrows and mouth, there is also the formation of wrinkles expression on the sides of the nose, which increases the sense of "losing control" of the typical exaggerated expressions. If we want to further exacerbate expression may have additional steps to limit the movement of facial muscles.

EXPRESSION BASE - freaking-scary - Terrified (from left to right, first above and then below)

Here is a passage normal expression - surprise - scared - terrified.

We have already seen what are the facial movements in the transition from normal to surprise. In the next steps there are other muscle movements to describe in detail step by step.

In the transition from scared amazed at the mouth opens revealing the two rows of teeth, eyes widen and his eyebrows arched, creating more expression lines on the forehead.

In step immediately after, from scared to terrified, he maxes out the possibility of movement of facial muscles involved: the wrinkles on the forehead of expression increases dramatically and is becoming more evident where they were already present, his eyes widen even more and eyebrows move as a result, while changing the inclination (assuming a pose more painful expression); mouth spreads even further revealing portions of your teeth and gums are formed more expression lines on the sides.

Ultimately, the facial expression says a lot about the character of the person who hires. A typical expression on a character gives an idea of \u200b\u200bits general nature and helps in the characterization phase, to better define the psyche and habits.

Therefore, the use of facial expressions is a tool that can also be used during "characterization" .

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facial expressions

In the last lesson we have learned to draw the head-type looking at it from different angles.

Now we see how the elements contribute to the appearance give expression to the face: the muscle groups that affect the face are not many, but their play on is very complex, and they serve a technical functions, such as raise and lower eyelids, move the jaw chewing, opening and closing the mouth; but - and this is what most interests the artist - they also respond to all types of stimulation, both physical and spiritual.

E 'due to muscle activity that change the attitudes of the face, in direct correspondence with the states of mind, and this happens not only to violent emotions (fear, pain, anger, tears and laughter, etc. .) but also for the usual character and moods.

Depending on what you're doing a character, and depending on his psychological state at the time of the designer must extract the coherent expression that describes the mood in an effective and immediate.

any expression is always determined by all its components, including the eyes, eyelids, eyebrows and the base of the forehead. It is therefore able to interpret what are the areas of mobile facial expressions that determine the changing and how its various parts are combined to create the desired expression.

begin marking on the male face mobile points mentioned above, a brief description of their operation.

's First eyes, who more than anyone else give a clear impression of the mood of the character: in fact, the mobility of the eye lies in its narrow or expand (which may be a characteristic of some peculiar expressions like terror, fear or sadness) and action combined with that fulfills the eyebrows, which almost never move without the involvement of the eyes. Their movement, for example, can indicate very different passions in itself: it is no wonder that rose to express shock, drop and frowned when there is anger, or simply concentration.

Another element is very mobile mouth, which can take an almost infinite range of shapes, thanks to the many muscles that cause facial movements: the mouth can be wide open, twisted, enlarged, close etc. etc.

In the last nose, along with expression lines that are of paramount importance. The first moves in terms of both mouth movements, both in its own way, although in the latter case it is very limited movement that shifts its sides, those just above the nostrils. The latter however, are characteristic of expressions more "pull" or passionate: an expression has more wrinkles, more state of mind (in general) is strong or heard. The lines in each case can be placed only in some areas of the face.

The various facial expressions derived from the combined motions (or alternate) of these elements: they can both be very exaggerated expressions and expressions "simple" resulting from movements restricted and controlled. The terms base that can be highlighted about the face are infinite, given the mobility of the foregoing and the endless possibilities of combination between them.

Here below some examples of expressions -base: to facilitate understanding of facial muscle movements for each example will be joined by the man's face standard.

EXPRESSION DOES NOT MATTER (fig. right)

As you can see, have been accentuated aspects "neutral" face, eliminating anything that might suggest to any expression, as dimples on the sides of the mouth and the tilt of the eyebrows.

frown

contrast, when the figure takes the term "hateful", facial features are characterized more: the mouth is arched eyebrows down and leaning into the eyes converge, resulting in the formation of various expression lines at the beginning of the nose.

speech against

Same goes for the expression of contrition, which maintains the same position of the mouth, although a different provision of the eyebrows (inverse, in the same relationship between the mixed feelings-hatred contrition) and a different eye position.

happy expression

The expression smiling instead the mouth is arched upwards instead of downwards, while the eyebrows and eyes away while remaining in an almost neutral (except for the buckle to the top of the lower eyelid, signs of the distinctive smile). Here we note also that the elements of the face are much more relaxed, unequivocal sign of peaceful state of mind typical of a person smiling.

EXPRESSION freaking

Here we have the same position of the eyebrows smiling expression, combined with the most wide-open eyes and mouth half open with the lips partially relaxed.

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How to Draw the head from all angles

The cartoon characters have to be able to turn around and look in all directions. There are three basic body poses that allow the head to look everywhere: look right, left and towards us.

If the head turns to one side, the vertical line curves in the same direction. As the head turns, the curve tends to increase.

1. Here's a head facing forward

2. The head begins to turn from one side

3. The head turns even more

4. Here is the head "profile"

To draw a head looking up or down (examples 1, 2 and 3), curve upward or below the horizontal line, while a draw for looking up and sideways (example 4), both curved lines that cross.

Another simple trick used by "Robin Hall" is this: before you start drawing your face you can make your character look in any direction you want, "pointing to" his nose in the desired direction.

So: Now apply the construction of the face using his nose to help wonder where to draw the eyes, ears and mouth.
And now we take the example of the "Pied Piper of Halmen" and let's look at his profile ...

... and the profile of our guard seen by 3 / 4:

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the head of a cartoon character

After explaining how to draw human figure in his head, being clear about the proportions of its various parts, let us now draw the head of a cartoon character.

When we talked about the "Composition of the basic forms" has said that through the simple search, you can build a character.

The 4 main stages are:

1. Draw a circle in pencil and two perpendicular lines

2. Draw the nose where the lines cross, the ears to the nose and eyes up more

3. Once designed the details face, remove the two perpendicular lines

4. Complete the face of the character using brightly colored pencils or markers.

Obviously, what we designed is a simple figure, but knowing these basic rules then you can play on and deform facial features at will.

Thus, setting a simple lay-out, first by drawing an oval, then the oval sits on a slightly trapezoidal shape and marking the axis of the figure and the alignment of the eyes, gradually come to represent the face of "Pied Piper of Halmen" .

The nose, which, located on the height, has characteristics very unnatural, and yet we would not be able to trace it without knowing the anatomy of the head.

also to draw the head of the next character, a guard, we started out simple forms: two overlapping circles, in which the ellipses are part of the eyes and the small circle of his nose.

The skills we have gained in tracing curved sections and knowledge of the proportions between the parties become instruments of our humor to draw a face, clearly puzzled.