A Quote by Matthew Ashford

When I draw a character, very often as I'm doing a face, my face mirrors the expression. — © Matthew Ashford
When I draw a character, very often as I'm doing a face, my face mirrors the expression.
It happened that sometimes I kissed in mirrors the reflection of my face; since the hands, face and tears of Annalena had caressed it, my face seemed suffused to me divinely beautiful and as if suffused with heavenly sweetness.
The 50s face was angry, the 60s face was well-fed, the 70s face was foxy. Perhaps it was the right expression: there was a lot to be wary about.
I've always used masks. I think it's a lot about the fact that masks often reveal a sort of subconscious element to a character. The mask is carved and given an expression or markings to reveal something, even though it's shielding the face. Even though it's hiding the face, it seems to reveal something underneath.
As a profession, we face unlimited threats with limited resources. We face a lack of trust in some of the communities we serve. We face a whole lot of second guessing and criticism about the work we're doing and the way we're doing it.
I hear poets complaining: 'We face what our forebears did not face. We face TV. We face radio. We face this and that.'
The death penalty is barbaric. And I think we as a society need to come face-to-face with that. If we're not willing to face up to the cruelty, we ought not to be doing it.
I see the President almost every day. I see very plainly Abraham Lincoln's dark brown face with its deep-cut lines, the eyes always to me with a deep latent sadness in the expression. None of the artists or pictures has caught the deep, though subtle and indirect expression of this man's face. There is something else there. One of the great portrait painters of two or three centuries ago is needed.
Now and then one sees a face which has kept its smile pure and undefiled. It is a woman's face usually; often a face which has trace of great sorrow all over it, till the smile breaks. Such a smile transfigures: such a smile, if the artful but knew it, is the greatest weapon a face can have.
Just imagine living in a world without mirrors. You'd dream about your face and imagine it as an outer reflection of what is inside you. And then, when you reached forty, someone put a mirror before you for the first time in your life. Imagine your fright! You'd see the face of a stranger. And you'd know quite clearly what you are unable to grasp: your face is not you.
If the face appears, the picture is inevitably a portrait and the expression of the face will dictate the viewer's response to the body.
I now know why people break up in e-mails and text messages. Doing it face-to-face is so hard because you have to stand in front of the person and witness their reaction. Face their wrath.
Face dance means you don't know what the hell the rest of your body was doing but your face is fierce. That's face dancing.
On 'Glee,' we often tackle the tough topics that young people face - in fact, my recurring character, Wade 'Unique' Adams, is a transgender teenager who finds herself navigating a lot of the same problems many young people face around the globe.
You know it's said that you make your own face. So you don't really have a face until you are 30 or your mid-20s. When you are starting to grow up and show your character in your face.
The only one who didn't know was George Lucas. We kept it from him, because we wanted to see what his face looked like when it changed expression--and he fooled us even then. He got Industrial Light and Magic to change his facial expressions for him and THX sound to make the noise of a face-changing expression.
It's so not sexy and intimate. There are 40 people in the room. There's a guy with his belly hanging out, with a boom in your face. It's really very technical. I think doing a love scene is tougher than doing a fight scene. It's so staged and you can't put light on her face and you have to hit the mark.
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