Lisa Hanawalt Quotes

It's a pain to draw different-looking humans.

Your face and head give more information about you than any other body part.

When I look at someone's face, there's something in my brain that just clicks - that breaks down their face into the elements that go into a caricature. It might be like the way a chef tastes a dish and can break down into elements what went into it.

The faces people make when they are photographed and the face they have when you draw them are very different.

Faces are the most interesting things we see

Contain all human faces in your own without any judgment of them

Faces are the most interesting things we see; other people fascinate me, and the most interesting aspect of other people - the point where we go inside them - is the face. It tells all.

Human faces are such a world!

Dear God! how beauty varies in nature and art. In a woman the flesh must be like marble; in a statue the marble must be like flesh.

What do you think is the world's most recognisable container of information? It's the human face. We are constantly reading each other and responding.

One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.

My eyebrows make a more profound impact on other people than they do on me. I just let 'em grow.

I think humans are just hard-wired to process people's faces and understand meaning and expression at such a more granular level than other types of communication.

It's kind of a language I've developed over time that's basically breaking up the face into components and planes. Inside each plane, I draw gradation marks, and when planes come together, they form sinews, a hairlike weave that's like a landscape of the face.

In school, I never really grasped drawing the nude form.

Obviously, there's more to aesthetic appearance than just race, but that is going to be the first thing that someone notices when they look at a picture.

I discovered about 150 dots is the minimum number of dots to make a specific recognizable person. You can make something that looks like a head, with fewer dots, but you won't be able to give much information about who it is.

People judge you really quickly, at first just on your facial features. There are two dimensions - warmth and competence. You can think of them as trustworthiness and strength. They're first judging you on warmth; evaluating whether or not you are trustworthy. That's much more important to them than whether or not you're competent.

If you look at the character of Sadness, they really nailed my eyebrows.

If you met Faith Hill in person, you would think she's absolutely beautiful. And when you take her picture, you will see every flaw that you never saw in person. Those flaws not only become visible but magnified.

When I went to art school in Romania, we learned the Golden Ratio Technique Theory, which taught us that when you draw a portrait and want to show an emotion, you change the eyebrows. They are the most important feature on the face.

Everybody's funny-looking.

The greatest location in the world is the human face.

The artist does not see both eyes alike. There is always 'the eye' and the other eye... It adds life and plasticity to the drawing if the eye in the light is darker than the one in the shadow. It gives the head vividness.

The painter sees the semblance of things and repeats it. That is, without fabricating the things himself, he fabricates their semblance; and, if that no longer recalls any object, this artificially produced semblance functions only because it is scrutinized for likeness to a familiar - that is, object-related - semblance.