Facial Exercises - How to Have a Mobile Face
By Kathy AmaratiA mobile face is an important goal for a photographic model. It is an absolute necessity for the projection of emotions. It is your means of communicating feeling to the viewer, for only by reading the signs of emotion upon your face can he get your message. Facial exercises are a must for any model.
Whether the action of the face is pronounced or subdued, control of all muscles must be maintained. A model, like an actress, must know what her face looks like at all times. She should be so familiar with it that she can visualize every change in expression accurately without having to look in the mirror.
Before practicing expression, see if you can move your face - feature by feature.
Eyebrows may be moved together and downward, together and upward. When you find that you have no apparent control, use a fingertip to move them into place until the muscle can take on its duties alone. Move them up and down. Try to lift one while dropping the other. If one doesn't work ... try the other. (Raising one brow is excellent for a quizzical or tongue-in-cheek expression.)
Eyelids prove quite interesting when you experiment with them. Think of them as shades that can be pulled up or down over the eyes. Close them and try to open them very slowly, stopping with each infinitesimal movement. Close them the same way. Can you raise your upper lid so that it no longer touches the top of the pupil of the eye?
Try it by parting the lids as wide as possible in surprise or by raising your chin slightly while looking down and at the same time lifting the upper lids as high as possible. Can you lower your upper lid until it covers the iris in your pupil without moving the lower lid? (This provocative movement should not be confused with the squint which raises the lower lid to get the same spacing - but not the same effect.)
Pupils of the eyes should not be confined to any one position. Are yours? Practice looking at the rim of a huge clock very close to your face. With your face to the front (do not move your head) stop your eyes momentarily at each of the twelve numbers. Focus your eyes on the distance and see if you can get the same degree of movement.
Turn your face to a full-face view in your mirror and practice rotating the pupils of your eyes to the numbers on the same clock. Now try the exercise in profile. Note how you can use only about half of the numbers if you keep the pupil in view of the camera.
Mouth flexibility, though easy, must be channeled in the right direction. Mumblers will find these exercises more difficult than the enunciators for they have become lip-lazy. A good facial exercise to get those muscles working (and this will improve your speech too) is to:
Hold a cork the size of a quarter, between your teeth and enunciate these vowels out loud: A-E-I-O-U-and repeat them 3 times distinctly. Next, open your mouth to accommodate three of your fingers (one over the other) between your teeth and enunciate the vowels Ah-Aw, Ah-Aw, Ah-Aw, Ah-Aw. With one finger: ee-oo, ee-oo, ee-oo.
Can you make the corners of your mouth go down in a sneer or a pout? Can you make them go up in happiness?
Before you start assembling the movements of these separate parts into actual facial expressions take a few minutes to arrange two mirrors in a special book-fashion. If you will open it about 75 degrees at the hinge and put your head up close, you will learn much about the action of your face ... especially in profile views which you would otherwise never have an opportunity to see.
When you bring the various parts of your face to bear upon a single expression you must consider your feelings and emotions. Consider the four basic emotions fear, sorrow, anger and happiness. Think of the thoughts and situations that go into creating those emotions.
What produces such reactions within you personally?
Master your expressions through facial exercises and you will produce great pictures.
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