>>7611424
hmmm, so the key to expressiveness is intuition. Whenever I get too mechanical about what I draw, I lose a lot of my expressiveness, as an example in my studies, I almost never can get the same level of expression. A lot of it is learning to trust your intuition and not necessarily trusting accuracy, even if you have to fight yourself. Art is a 2d medium - in order to get expressiveness, you have to exaggerate because you can't actually see the moving masses of the face that are associated with an expression in real life, it's very difficult to accurately get that in real time without looking uncanny which is a big reason why even an extremely talented person who does a realistic study of someone who is smiling will often come off as extremely uncanny valley, because our brains can't process seeing that crushed into two dimensions, the way it can process 3D expression. A lot of it is going with your gut and utilizing exaggeration and stylization. I'm not very technically skilled so it's difficult for me to express, but one of the worst things that I think that someone can do to get trapped in unexpressive art is to basically only use the Loomis face - I would rather have an asymmetrical face that is lacking some degree of construction that is expressive and conveys an emotion than have something with extreme rigidity that doesn't express anything. I definitely need to learn Loomis, but I would never let myself be dependent on it because I see what it does to people and what it creates if people become too dependent on underlying construction and not about the feel or forms of the mass. Another thing is letting yourself go off model with characters when necessary the same way they do it animation, although often criticized, I think it's a very essential part of expressiveness in a well-done animated piece and is very much lost in a lot of modern animation, both in Japan and the West.
Thank you, by the way. I could say more but don't want to bore you