facial expressions: a visual reference for artists
TRANSCRIPT
AcquisitionsEditor,JoyAquilinoProjectEditor,RobbieCappDesigner,MarkSimon
GraphicProduction,HectorCampbell
Copyright©2005MarkSimon
Publishedin2005byWatson-GuptillPublications,animprintoftheCrownPublishingGroup,
adivisionofRandomHouse,Inc.,NewYorkwww.crownpublishing.comwww.watsonguptill.com
LibraryofCongressControlNumber2004116562eISBN:978-0-8230-0831-5
Allrightsreserved.
v3.1
ACKNOWLEDGMENTS
OFCOURSE,ABOOKLIKE thiscouldnotexistwithoutthewonderfulmodels who gave their time so generously and posed their faces soexpressively for my camera. On behalf of artists around the world, Ithankyou.
Iamalsogratefultotheincrediblytalentedprofessionalswhoseartforthisbookinspiresme—asitwillgenerationsofartistswhowillbenefitfromtheimaginativeworkcreatedforthesepagesbasedonmygalleriesofreferencephotos.
Myimmediateandextendedfamilywillbelookingfortheirthanks,andtheydeserve it!Notonlydo theyputupwithmedayafterday—theyalso agreed to pose formewhile I tried tomake them look as funny,scary,anduncomfortableaspossible.Thankyou,andIloveyou.
Tomyassistants:Theonly reason I can continue toproducebooksontopofeverythingelseIdoisbecauseyouallgivemesuchgreathelp.Ihope I have helped you asmuch as you have helpedme. Thank you,RichardBartley,ChrisBoyd,CowLauterbach,andCindyRangel.
And,ofcourse,tothecrewatWatson-Guptill,thanks.Thankyouallforsharinginmyvisionandhelpingmemakeitbetter.Inparticular,Iwantto thank JoyAquilino for guidingme along theway,RobbieCapp forpushingme in theediting, andSivanEarnest forher coverdesignandhelpindesigningthetext.
ABOUTTHEAUTHOR
MARKSIMONhasbeenaprofessionalartistforovertwenty-fiveyears.His background includes live-action and animation design andproduction, advertising design, comic strips, storyboarding, lecturing,and writing. He is based in Orlando, Florida, where he founded andowns A&S Animation, Inc., a cel animation house, and Animatics &Storyboards, Inc., the largest storyboard house in the southern UnitedStates,withmore than1,600productions to its credit.A&SAnimationdevelops and produces animation for commercials, television, trainingvideos, mobile streaming media, and the Web. The A&S team hasproduced award-winning shorts, commercials, and shows forNickelodeonandCartoonNetwork,anddesignedsetsandspecialeffectsfor live-action feature films. Simon teaches at the DAVE (DigitalAnimation and Visual Effects) School, located at Universal StudiosOrlando,andhisanimationandstoryboardingarticleshaveappearedinvarious industry magazines. He is also the author of ProducingIndependent 2D Character Animation and Storyboards: Motion in Art(SecondEdition),bothpublishedbyFocalPress.
TABLEOFCONTENTS
CoverTitlePageCopyrightAcknowledgmentsAbouttheAuthor
INTRODUCTION
HOWTOUSETHISBOOK
SKULLGALLERY
EXPRESSIONSGALLERY
AGES20–27
AGES31–39
AGES40–47
AGES50–54
AGES65–69
AGES76–78
AGES83
SEQUENTIAL-EXPRESSIONSGALLERY
KISSINGGALLERY
PHONEMESGALLERY
HATSANDHEADGEARGALLERY
SPORTSHEADGEAR
ETHNICHEADDRESSES
CAPSANDCASUALHATS
DRESSIERHATS
SAFETYHEADGEAR
WORKHATS
MODELCONTACTS
ARTISTCONTACTS
INDEXES
INTRODUCTION
I’VEBEENA professional artist for over twenty-five years. Early on, Ihad a repertory of only about five different faces that I always drew.ThenIbeganlookingforadditionalreferencesources.Itookpicturesoffamily and friends to use as reference formy various projects.Next, Iwent through magazines and newspapers and cut out photos ofinteresting faces to add to my collection. Then came the internet, awonderfulsourceforaccessingphotosofcelebrities.
Consistently forcingmyself to draw new and different subjects helpedme to growas an artist, andmy file of references contributedgreatly.But then I realized thatone imageofone facedidnotgivemeall thereference I needed for drawing an individual from several angles,showingarangeoffacialexpressions.
Granted, likemostartists, Ihavemirrorsaroundmeandcanmug intothemand copy the look I need for a givenpiece of art. But suppose Iwanttodrawalargewomanwithanangrylook.Theangryexpressionon my slim male face won’t look the same as the anger on a heavyfemaleface.AndifIneededtodepictasadoldmantwicemyage,thelines on his face would be quite different from those on my face. Irealizedthatinsteadoftryingtohaveaharemofmodelsatmybeckandcall, I needed to develop a file of faces representing many types andages,withexpressionssimulatingavarietyofmoods,photographedfrommanydifferentangles.
Thebookyouareholdingistheresult.Itwasmotivatedbymyquesttobeabetterartistandtohelpmyartistfriendsbysharingthiscollectionofindispensablereferencematerialwiththem.Indiscussingtheconceptfor this book with many professionals—from animators to fineillustrators tocomicbookartists—theyallagreedthat thisbookwouldbeanessentialtoolforthem.
Thesepagesshowmorethanfiftydifferentmenandwomenofvarious
agesandethnicities,eachexpressingabroadarrayofemotions formycamera.Astheirfacessimulateddifferentmoods,Itookpicturesfromanumber of angles, so there are dozens of shots of each model. Inaddition,sincethisreferencebookisforartists,Ithoughtthatyou,thecreative reader,wouldenjoy seeingexamplesofhow thesephotos canstimulatecreativework,soIaskedanumberofprofessionalsintheartworldtoselectareferencephotofromthiscollectionandbaseaworkofartonit,usinganymediumoftheirchoice.Scatteredthroughthebookyou’llfindrealisticillustrations,caricatures,sculptures,andmanyotherworksofartinspiredbythesephotos.
Atthebackofthebook,thereareindexeslistingtheartists,aswellasanumber of the models. Feel free to contact them. Save the world—employanartist!
Enjoy the references. Allow your creativity to thrive. And never letanyonetalkyououtofexpressingyourself.
Toons!
HOWTOUSETHISBOOK
DRAW.LOOKATTHEPICTURES.Drawsomemore.Besidesthat,therearelotsofcreativewaystomakeuseofthesereferencephotos.
Supposeyouneedtodrawamanwithaponytail,butyoucan’tfindanygood examples. Simply choose anyman’s face you’d like to illustrate,andthenuseawoman’sponytailasthereferenceforhishair.
Youcanmixandmatchmanyotherelementsfromthesephotostohelpyou find just the look you want. Draw the eyes from one face, addglassesfromanother,chooseahatfromathird.
Consult the “Table of Contents” when you’re looking for a face of aspecificage;themodelsaresequencedbyageforquickreference.Whenyouwantacertainkindofhatorheadgear,thosearealsoseparatedandlistedbycategory.
Of course, these photos should never limit your imagination. If yourworkcallsforcaricatures,enlargethemodel’schinormaybeaddalargebumponhisnose.Studythefacestofindthesubtledifferencesbetweengendersandethnicities.Noticehowmusclesdistorttheshapeofaface.Make use of this book as a starting point on which to build yourcharacterdesigns.
If you’re a storyboard artist, you may also use the book as a castingsession. For example,when a commercial director asks you to draw aclassic couple in their thirties, youcan turn to the sectionof thebookdevoted to that decade and ask, “Like one of these?” The photos canquicklynarrowthevisualapproachthedirectorwants,soyoucanmoveaheadwithyourboards.
Ifyou’reananimator,you’llfindreferencematerialforcharacterdesign,mouth shapes, and a huge range of facial expressions. Many cameraangles are shown to help you in illustrating turnarounds—charactersdrawnfromeveryangletoguideotheranimatorsandensureconsistency
onaproject.Anothergreataidforanimatorsisthe“PhonemesGallery,”whichprovidesmouthshapesforeachsound.
If you don’t have a specific assignment at the moment, youmay justwant to sketch different faces to stimulate ideas for future projects.Sometimes faces just pop out at you, begging to be drawn. Let thosephotosjump-startyourcreativity.
Pleasenote:Toreinforcethepublisher’sstatementaboutreservedrights(seethecopyrightpage),rememberthatthephotosinthisbookmaynotbe reproduced or used in anyway other than as reference for artists.While themodels understand that their facesmay be replicated in allformsofart,theyhavenotreleasedtherightsfortheirphotostobeusedoutside of this text. All art in this book is copyrighted to theparticipatingartistsorasnoted.
SKULLGALLERY
THESHAPEOFTHE SKULL determines the structure and look of theface,andthemovementofthejawaffectshowwelookwhenwespeak.Thesimilaritiesbetweenskullsaremuchgreater thantheirdifferences,although every skull differs somewhat from all others, but in minorways. The next few pages depict both the bare skull and the skullcoveredinmuscles,togiveyouabetterunderstandingofhowboneandmuscledefineourfacialtraitsandexpressions.
Thejawrotatesfromtherearmostconnection,andistheonlyportionoftheskullstructurethatmoves.Other facialmovements,suchasraisingeyebrows or wrinkling the nose, are based on muscle movement. Sowhiletheskullismadeupoftwenty-eightbones,onlythejawbonecanmove, and its action contributes greatly to the broad range of moodsthatthehumanfaceiscapableofexpressing.
The skull used in the photos is that of an adult male. Although thedifferencesbetweenaman’sandawoman’sskullarenotabsolute,theyareoftenapparentintheseways:
•Maleshavemoreprominentbrowridges.•Maleshavebluntandsquarisheyesockets.•Femaleeyesocketsaresharperandmorerounded.•Maleshavealargerpalate(thetopofthemouth).•Maleshavelargerteeth.•Maleshavesquarerchins.•Femaleshaveroundedchinswithapointinthemiddle.•Femaleskullsaresmaller,smoother,andmoredelicate.
SKULL,ADULTMALE
SKULLWITHMUSCLES,ADULTMALE
EXPRESSIONSGALLERY
THEFOLLOWINGLIST of emotions and ideaswasused to inspire themodels to exhibit a variety of facial expressions. While each modelreacted to different suggestions, not every example listed below isdisplayedbyeachmodel.(Nomodelswerehurtduringtheproductionofthesephotos,eventhoughIwastemptedattimestophysicallyassistthelookoftruepain.)Herearethemanywordsandfeelingsthatelicitedtherangeoffacialexpressionsshowninthegalleryahead.
PLEASEDHAPPYGIGGLINGECSTATIC
HYSTERICALLAUGH
TENDERBLISSFULADORINGLOVINGSEXY
STONE-FACEDSHY
EMBARRASSEDBEWILDEREDCRAZED
ANNOYEDANGRY
FURIOUSTERRIFIEDSCREAMING
CONCERNEDUPSETCRYING
DISTRAUGHTEXCRUCIATINGPAIN
SURPRISEDPUZZLED
CONCENTRATINGLISTENINGINTENTLY
EXCITED
SLYMEAN
CONNIVINGMENACINGEVIL
CHEWINGWHISTLINGSQUINTINGBLOWINGOUTACTINGGOOFY
POUTINGPANTING
BEDRAGGLEDHEADACHYHUNGOVER
MARIAMTELLEZ•AGE20
ARTINSPIREDBYMARIAM’SPHOTOS
Pencilsketchandfound-objectsculpturebyMikeConradofRadicalConcepts©2005
CINDYRANGEL•AGE21
ARTINSPIREDBYCINDY’SPHOTOS
InksketchesbyDanAntkowiak©2005
COWLAUTERBACH•AGE23
ARTINSPIREDBYCOW’SPHOTOS
PencilsketchesbyTonyMorgan©2005
Flashillustration
byKerryDwyer©2005
RICHARDBARTLEY•AGE23
ARTINSPIREDBYRICHARD’SPHOTOS
InkcaricaturebyRobSmith,Jr©2005
ANTHONYANGELOTTI,JR.•AGE24
ARTINSPIREDBYANTHONY’SPHOTOS
ScratchboardillustrationbyMarkSimon©2005
ENOCCASTANEDA•AGE24
ARTINSPIREDBYENOC’SPHOTOS
PencilillustrationandPhotoshopcoloringbyEnocCastaneda©2005
JASONMEYER•AGE24
ARTINSPIREDBYJASON’SPHOTOS
PhotoshopillustrationsbyTravisBlaise©2005
LESVALENTIN•AGE26
ARTINSPIREDBYLES’SPHOTOS
PencilillustrationsbySteveSawran©2005
CHRISTINEFAIREY•AGE27
ARTINSPIREDBYCHRISTINE’SPHOTOS
PenandinkillustrationbyGaryLessord©2005
CRAIGFAIREY•AGE27
ARTINSPIREDBYCRAIG’SPHOTOS
PencilillustrationsbyMarkSimon©2005
SARAHAL-ATRAKCHI•AGE27
ARTINSPIREDBYSARAH’SPHOTOS
PenandinkillustrationbyGaryLessord©2005
MADDIEXIE•AGE31
ARTINSPIREDBYMADDIE’SPHOTOS
PenandinkcaricaturebyRobSmith,Jr.©2005
GINAGATTS•AGE32
ARTINSPIREDBYGINA’SPHOTOS
PastelillustrationbyMarkSimon©2005
LISASEMRAU•AGE32
ARTINSPIREDBYLISA’SPHOTOS
PencilcartoonsbyKeithSintay©2005
PenandinkandpastelillustrationsbyChristinaBedle©2005
LORIMOORE•AGE32
ARTINSPIREDBYLORI’SPHOTOS
PenandmarkeranimaticillustrationsbyAlexSaviukofAnimatics&Storyboards,Inc.
PencilstoryboardillustrationbyMarkSimon
JACKXIE•AGE33
ARTINSPIREDBYJACK’SPHOTOS
PencilsketchbyTonyMorgan©2005
KAYSAL-ATRAKCHI•AGE33
ARTINSPIREDBYKAYS’SPHOTOS
PencilandPhotoshopillustrationbyBradVancata©2005
TRAVISBLAISE•AGE33
ARTINSPIREDBYTRAVIS’SPHOTOS
InkillustrationsbyAlexSaviuk©2005
DAVIDSEMRAU•AGE34
ARTINSPIREDBYDAVID’SPHOTOS
PencilstoryboardsbyMarkSimon
DENNISGATTS•AGE34
ARTINSPIREDBYDENNIS’SPHOTOS
PencilillustrationsbyMarkSimon©2005
ANDREAJABITZ•AGE35
ARTINSPIREDBYANDREA’SPHOTOS
ContecrayonandcharcoalpencilillustrationsbyJoshuaJohnson©2005
TINAPINTO•AGE36
ARTINSPIREDBYTINA’SPHOTOS
AcryliconMasonitepaintingbyGaryLessord©2005
VIKANETANE•AGE36
ARTINSPIREDBYVIKA’SPHOTOS
Pencil,watercolorpencil,andPhotoshopillustrationbyDavidBredahl©2005
PenandmarkeranimaticillustrationsbyAlexSaviukofAnimatics&Storyboards,Inc.
LYNDONDUPONT•AGE38
ARTINSPIREDBYLYNDON’SPHOTOS
PencillayoutandacrylicpaintingbyMikeConradofRadicalConcepts©2005
ALICIADUPONT•AGE39
ARTINSPIREDBYALICIA’SPHOTOS
InkcaricaturebyPatVogtli©2005
GILLIANHAGLUND•AGE39
ARTINSPIREDBYGILLIAN’SPHOTOS
PencilstoryboardswithPhotoshopcoloringbyMarkSimon
MARKSIMON•AGE39
ARTINSPIREDBYMARK’SPHOTOS
PencilstoryboardsbyAlexSaviukofAnimatics&Storyboards,Inc.
SALLIEGLANER•AGE39
ARTINSPIREDBYSALLIE’SPHOTOS
PencilcaricaturebyEnocCastaneda©2005
Acrylicpainting
byCrystalKinsey©2005
KARLHAGLUND•AGE40
ARTINSPIREDBYKARL’SPHOTOS
PencilandmarkerstoryboardbyAlexSaviukofAnimatics&Storyboards,Inc.
PencilstoryboardbyAlexSaviukofAnimatics&Storyboards,Inc.
PencilcaricaturebyEnocCastaneda©2005
PencilstoryboardbyAlexSaviukofAnimatics&Storyboards,Inc.
KIMMCINTYRECANNOLD•AGE40
ARTINSPIREDBYKIM’SPHOTOS
Maya3DmodelbyRichardBartley©2005
TOMCANNOLD•AGE43
ARTINSPIREDBYTOM’SPHOTOS
PhotoshopillustrationbyMarkSimon©2005
HOPESHERMAN•AGE45
ARTINSPIREDBYHOPE’SPHOTOS
ContecrayonandcharcoalpencilillustrationsbyJoshuaJohnson©2005
LOUDIFAZIO•AGE45
ARTINSPIREDBYLOU’SPHOTOS
PencilcaricaturebyEnocCastaneda©2005
MARTYSHERMAN•AGE45
ARTINSPIREDBYMARTY’SPHOTOS
PencilsketchesbyMarkSimon©2005
EDWARDWIESCHOLEK•AGE47
ARTINSPIREDBYEDWARD’SPHOTOS
VectorillustrationbyEnocCastaneda©2005
RICHARDBRELSFORD•AGE47
ARTINSPIREDBYRICHARD’SPHOTOS
BrushedinkandpencilillustrationsbyJ.BowenHardy©2005
ROSHAN•AGE47
ARTINSPIREDBYROSHAN’SPHOTOS
FlashillustrationbyWillieCastro©2005
ROSSCIBELLA•AGEOVER50
ARTINSPIREDBYROSS’SPHOTOS
PencilcaricaturebyEnocCastaneda©2005
BILLSUCHY•AGE52
ARTINSPIREDBYBILL’SPHOTOS
InkcaricaturebyAlexSaviuk©2005
CHARLOTTEROMAGNA•AGE52
ARTINSPIREDBYCHARLOTTE’SPHOTOS
InksketchesandSculpeymaquettebyDanAntkowiak©2005
GENEROMAGNA•AGE52
ARTINSPIREDBYGENE’SPHOTOS
PencilsketchesbyTonyMorgan©2005
FlashillustrationbyTomMoser©2005
MOHAMMED•AGE54
ARTINSPIREDBYMOHAMMED’SPHOTOS
PenandmarkerillustrationsbyDanAntkowiak©2005
PencilstoryboardbyAlexSaviukforAnimatics&Storyboards,Inc.
DIANAPAPPASBOOTH•AGE65
ARTINSPIREDBYDIANA’SPHOTOS
FlashillustrationbyWillieCastro©2005
LENAKOZIELSKI•AGE67
ARTINSPIREDBYLENA’SPHOTOS
PhotoshopdigitalpaintingbyBradVancata©2005
TEDSIMON•AGE67
ARTINSPIREDBYTED’SPHOTOS
PencilsketchandcelanimationframebyMarkSimon©2005
InkandmarkeranimaticillustrationsbyAlexSaviukforAnimatics&Storyboards,Inc.
JOANNEROSS•AGE69
ARTINSPIREDBYJOANNE’SPHOTOS
PencilillustrationsbySteveSawran©2005
LARRYKOZIELSKI•AGE69
ARTINSPIREDBYLARRY’SPHOTOS
SclupeysculpturebyMarkSimon©2005
GEORGEBOOTH•AGE76
ARTINSPIREDBYGEORGE’SPHOTOS
PencilanimationsketchesbyKeithSintay©2005
DOTTIEPETERMAN•AGE78
ARTINSPIREDBYDOTTIE’SPHOTOS
PencilcaricaturesbyPatVogtli©2005
JOIEAXELSON•AGE83
ARTINSPIREDBYJOIE’SPHOTOS
PencilsketchesbyTravisBlaise©2005
SEQUENTIAL-EXPRESSIONSGALLERY
ANIMATORSCANMAKEUS BELIEVE that a drawing actually comesalive.Andindeeditdoes,whenaseriesofillustrationsaresequencedsoskillfully that they fool the eye into thinking that continual action istakingplace.
Whenanimatorsneedtocreatesuchaseamlessseriesofdrawings,theyoften refer to videotaped or live models going through a series ofmovements.Thesepagesprovidesequentialreferencephotosforyou.Byvideotapingmodels(onehappenstobeme)actingoutaseriesoffacialexpressions, I came upwith a gallery of photos that lets you see howfacial features transition fromoneexpression toanother.These imagesare thekeystill frames taken fromthevideo, showingmanysubtletiesalongtheway.Someof thephotos in thisgalleryalso letyouseehowheadandshouldermovementmayaccentuateafacialexpression.
SEQUENTIALEXPRESSIONS
KISSINGGALLERY
INTERSECTINGFACES,otherwiseknownaskissing,isahardreferencetoviewwhenyouworkaloneinastudio.Ifyoutrykissingyourselfinamirror, all you’ll see is your flattened nose against the glass, soonclouding up from your breath. So when your assignment calls for
depictingthepassionatemeetingoftwofaces,turntothisphotogalleryforreference.
The images here show deep kissing, light kissing, and tender, face-to-face embraces, mouths just about to connect. There are even a few“Eskimo”nose-to-nosesmooches.
Asintheothergalleries,eachpositionisshownfrommultipleangles—includingsomeaerialviewsoftheguy’sbaldingcrown.(Hewon’tmindifyoufillitinwithhair.)
KISSINGGALLERY
PHONEMESGALLERY
ALLANIMATORS—whetherworking in2Dand/or3D—have theneedforphonemereference.Fortheartist,phonemesarespeechsoundsthatmustbetranslatedintothemouthshapesandexpressionsweusewhenwe speak. If you’re animating dialogue, it’s important to shape the
phoneticsoundsofthewords,notthelettersthatspellthewords.
Forinstance,ifyouneedtoanimateacharactersayingthewordride,thephonemeswouldbeR-I(alongIasinice)-D;theEontheendmakesnosound. If you had your character use the E phoneme at the end, thecharacterwouldbesayingrid-ee.
Whilemanyanimationbooks show illustrated styles of phonemes, thisbookusesphotographicreferencesofmouthpositions.Whenyouconsultthisgallery, insteadofbeing influencedbyanotherartist’s renditionofspeaking mouths, the drawing you make is completely your own,designedinyourowncreativestyle.
Note that stylistic animation may not make use of all the phonemesshown here; many animators only use eight mouth positions. On theotherhand,highlyrealisticanimationmayusetransitiondrawingsthatbridgethephonemes.
Alsonotethatinthesephotos,thenoseisalwaysinthesameposition.The jawhinges inbackand lowers thebottomof themouth.Thenosedoesnotrotateup.
Themouthpositions,orphonemes,shownhereinorderare:
A,IEOU
C,D,G,K,N,R,S,TH,L(sometimesTH)
M,B,PF,V
W,Q,OOShLoudClosed
PHONEMES
A,I
E
O
U
C,D,eh,G,K,N,R,S,TH,Y,Z
L(sometimesTH)
M,B,P
F,V
W,Q,OO
Sh
Loud
Closed
A,I
E
O
U
C,D,eh,G,K,N,R,S,TH,Y,Z
L(sometimesTH)
M,B,P
F,V
W,Q,OO
Sh
Loud
Closed
A,I
E
O
U
C,D,eh,G,K,N,R,S,TH,Y,Z
L(sometimesTH)
M,B,P
F,V
W,Q,OO
Sh
Loud
Closed
A,I
E
O
U
C,D,eh,G,K,N,R,S,TH,Y,Z
L(sometimesTH)
M,B,P
F,V
W,Q,OO
Sh
Loud
Closed
A,I
E
O
U
C,D,eh,G,K,N,R,S,TH,Y,Z
L(sometimesTH)
M,B,P
F,V
W,Q,OO
Sh
Loud
Loud
A,I
E
O
U
C,D,eh,G,K,N,R,S,TH,Y,Z
L(sometimesTH)
M,B,P
F,V
W,Q,OO
Sh
Loud
Closed
A,I
E
O
U
C,D,eh,G,K,N,R,S,TH,Y,Z
L(sometimesTH)
M,B,P
F,V
W,Q,OO
Sh
Loud
Closed
A,I
E
O
U
C,D,eh,G,K,N,R,S,TH,Y,Z
L(sometimesTH)
M,B,P
F,V
W,Q,OO
Sh
Loud
Closed
HATSANDHEADGEARGALLERY
HATS,HELMETS,ANDotherheadcoveringscomeinnumerousshapesandsizes.Thissectionshowsyoulotsofthem,andthey’rephotographedfrommultipleangles. Inaddition toheadgear forvarious sports—somewithfaceguardsandhelmets,somewithscubamaskandsnorkel—you’llfind wool caps, visorcaps, berets, brimmed hats, military hats, chefs’hats,heavy-dutysafetyheadgear,ethnicheaddresses,andafewtoppersthatdefydescription.
Manydifferentmodelsposedforthissection,offeringavarietyoffacesunder all those head coverings to broaden your reference range forcharacters youwish to illustrate. Feel free tomixandmatch the facesandhatstosuityourneeds.
SPORTSHEADGEAR
MayamodelingbyRichardBartley,©2005
ETHNICHEADDRESSES
CAPSANDCASUALHATS
DRESSIERHATS
SAFETYHEADGEAR
WORKHATS
MODELCONTACTS
Weshouldallappreciateandhonorthemodelswhohaveposedforthisbook.Theydidsowith theknowledgethatbycontributingtheir facialexpressionstothesepages,theywillbebenefitingartiststheworldover.These brave souls also know that by allowing their faces to inspireartists,theirfeaturesmaybedistortedininnumerableways.
Themenandwomenlistedbelowwouldlikeyoutoknowthattheyareavailableforothermodelingand/oractinggigs.Pleasemakeuseoftheirwonderfultalents.
ANTHONYM.ANGELOTTI,[email protected]
RICHARDEARLBARTLEY,JR.321-287-3445
RICHARDBRELSFORD407-248-0114
THOMASCANNOLD407-648-0277
ENOCCASTANEDAwww.enocstudios.com
SALLIEGLANEwww.dreels.com/sallie
GENEROMAGNA407-963-0788
DAVIDSEMRAU407-321-1686
LISASEMRAU407-321-1686
MARTYSHERMAN407-226-8182
MARKSIMON407-370-2673
www.storyboards-east.comwww.FunnyToons.tv
LESLIEVALENTIN
407-736-9020
EDWARDWIESCHOLEK407-846-6818
JACKXIE407-363-4789
MADDIEXIE407-363-4789
ARTISTCONTACTS
Itneverceasestoamazemehowmanydifferentwaysartistscanlookatand interpret the same subject matter. The preceding pages containinspiring imagesbymany talentedartists.Wheneveryouhaveneedoftheirskills,pleasecontacttheseamazinglycreativemenandwomen.
DANANTKOWIAK818-723-9468
RICHARDEARLBARTLEY,JR.321-287-3445
407-835-3661407-970-1839cellTRAVISBLAISE
ENOCCASTANEDAwww.enocstudios.com
MIKECONRAD5322RidgewayDr.Orlando,FL32819407-351-5784
www.RadicalConceptsInc.com
KERRYDWYE323-782-0851
www.KerryDwyer.com
JOSHUAJOHNSON608-289-1904
CRYSTALKINSEY352-483-9569
GARYLESSORDwww.GaryLessord.com
TONYMORGAN407-496-5412
TOMMOSE818-429-4653
ALEXSAVIUK386-290-3293
STEPHENSAWRAN407-224-3283
MARKSIMON407-370-2673
www.storyboards-east.comwww.FunnyToons.tv
KEITHSINTAY661-424-1399
ROBSMITH,[email protected]
BRADVANCATAwww.BradVancata.com
INDEX–MODELSAL-ATRAKCHI,KAYS2.1,6.1
AL-ATRAKCHI,SARAH
ANGELOTTI,ANTHONYJR.1.1,2.1
AXELSON,JOIEtoc.1,2.1
BARTLEY,RICHARD2,2.1,6.1
BLAISE,TRAVIS
BOOTH,DIANAPAPPAS2.1,5.1
BOOTH,GEORGE2.1,5.1
BRELSFORD,RICHARD
CANNOLD,KIMMCINTYRE2.1,3.1,4.1
CANNOLD,TOM2.1,3.1,4.1
CASTANEDA,ENOC2.1,6.1,6.2,6.3
CIBELLA,ROSS
DIFAZIO,LOU2.1,5.1,6.1
DUPONT,ALICIAtoc.1,2.1,6.1,6.2
DUPONT,LYNDON2.1,6.1
FAIREY,CHRISTINE
FAIREY,CRAIG
GATTS,DENNIS2.1,6.1,6.2
GATTS,GINA
GLANER,SALLIE
HAGLUND,GILLIAN
HAGLUND,KARL
HARRIS,CONWAY
JABITZ,ANDREA
KOZIELSKI,LARRY2.1,6.1
KOZELSKI,LENA2.1,6.1
LAUTERBACH,COW
MEYER,JASON
MOHAMMEDtoc.1,2.1
MOORE,LORI2.1,6.1
NETANE,VIKA2.1,6.1
PETERMAN,DOTTIE
PINTO,TINAtoc.1,2.1
RANGEL,CINDY
ROMAGNA,CHARLOTTEtoc.1,2.1
ROMAGNA,GENE2.1,6.1,6.2
ROSHAN
ROSS,JOANNE
SEMRAU,DAVID2.1,6.1
SEMRAU,LISA2.1,6.1,6.2
SHERMAN,HOPE
SHERMAN,MARTY
SIMON,JEANNE
SIMON,MARK1,2.1,3.1,5.1,6.1,6.2,6.3
SIMON,TED
SUCHY,BILL
TELLEZ,MARIAM2.1,6.1
THIERER,DAVID
VALENTIN,LEStoc.1,2.1
WHITLOCK,JENNY
WIESCHOLEK,EDWARD
XIE,JACKtoc.1,2.1
XIE,MADDIE
INDEX–ARTISTSANTKOWIAK,DAN2.1,2.2,2.3
BARTLEY,RICHARD2.1,6.1
BEDLE,CHRISTINA
BLAISE,TRAVIS2.1,2.2
BREDAHL,DAVID
CASTANEDA,ENOC2.1,2.2,2.3,2.4,2.5,2.6
CASTROWILLIE2.1,2.2
CONRAD,MIKE2.1,2.2
DWYER,KERRY
HARDY,J.BOWEN
JOHNSON,JOSHUA2.1,2.2
KINSEY,CRYSTAL
LESSORD,GARY2.1,2.2,2.3
MORGAN,TONY2.1,2.2,2.3
MOSER,TOM
SAVIUK,ALEX2.1,2.2,2.3,2.4,2.5,2.6,2.7,2.8
SAWRAN,STEVE2.1,2.2
SIMON,MARK2.1,2.2,2.3,2.4,2.5,2.6,2.7,2.8,2.9,2.10,2.11
SINTAY,KEITH2.1,2.2
SMITH,ROBJR.2.1,2.2
VANCATA,BRAD2.1,2.2
VOGTLI,PAT2.1,2.2