Reworking Assignment 2

Its useful to hear someone else talk about the painting which has helped me reevaluate against the idea of fitting into a new culture.

The strong shadow suggests being unsettled which I was when I first arrived.   The cultures are very different and this unsettled feeling is in response to the overwhelming differences to consider.   There were differences in the environment as well as with people.   I found the asian culture differences intense in each of the senses where when simply walking down the street you face strong smells and a overwhelming variety of signs and noises.   Being unsettled also pushes you to try fitting in more to get more settled, this suggests I need to add marks to balance out the strong shadows.  What would provide balance or a move towards balance and reduce the unsettled feeling?

Fork has a solid linear quality and allows the aluminium support to shine through and uses negative space well.    The spoon is again a solid smooth quality which is more realistic despite my intention to reduce it down to some minimal marks and work more with negative space.  Theres an intimate connection between fork and spoon reflecting the connection with the western culture more than the asian.

Chopstick is hammer like, painted in a more straight forward manor reflecting a basic connection and less expressive.

I like the idea of sensing the culture in different ways and reminds me of the blind portrait sketching I did in assignment 3.   Would drawing and painting the chopstick, spoon and fork blind reflect an experience of sensing something new like the culture by translating the touch visually?


The chopstick felt light and smooth at one end moving to sharp pointy at the other.  The chopstick rest felt mostly spiky and sharp with smooth bits in-between.   The fork and spoon felt heavy, solid, curved and smooth.    I liked the idea of moving oil paint around on the surface to create the rests spiky feeling or smooth curved parts to reflect more what I felt.

The environment is mostly colder inside than outside with extreme difference adding to the unsettled feeling.    This could translate into a mix of warmer blurred areas and cold sharp areas.   I could use the transparent gesso to create the blurred areas and leave the sharp cold areas or add some smooth flat areas.


I applied oil with liquin for the rest and moved it around with a knife and stick to create sharp points and lines.   For the spoon I used oil and liquin again but used a brush to apply and attempted to push the paint down and outwards as I moved down the handle.

I applied transparent guesso on parts of the background and enamels to create smooth shiny flat areas.   The result was more unbalanced with the chopstick shadow being too strong so I applied very thinned enamel over the fork shadow to balance.

I find this version more interesting with greater variety and in particular the chopstick rest feels very sharp.   Interestingly whilst the sharpness reflects the physical cultural symbol it also suggests the asian culture is menacing or difficult to handle which is not really what I intended but can be true for some things.   I felt I over did the gesso creating confusing marks in some places once it had dried.   I feel I could swallow up lots of time trying out different ways to balance out the parts I don’t like and I’m not sure its worth me progressing further at this stage so I decided to stop.






Reflection on Assignment 3

I found a greater sense of awareness of the marks I was making and how they relate to the subject.   In particular drawing and painting my portrait blind helped me start to rethink my mark making and how the movement and pressure relates to my sense of touch.   For example feeling the shape and hardness around the eye compared to the eye lashes leads came out as putting pressure with a sharp movement around the eye socket and delicate lighter brushed marks around the eye.   These differences can be more pronounced than when I look at them because I’m so used to drawing what I see.

Exploring different paper surfaces enabled me to show more contrast with more paint absorbed into the paper versus less absorbed leading to blurring and a spongy effect.   This led me to select the paper knowing I needed a darker saturated look or one with blurring together with sharper marks.   I would have liked to have tried more variety of surfaces in printing had there been more time to source and try out.   The choice of paper coupled with more or less solvent has enabled me to produce sharp brushed marks compared to softer blurred marks.

Removing paint was a big part of making the marks and creating definition.  Oil is relatively easy to remove from or move on glass and finding appropriate tools to use during the exercises really helped.   Using tissue to remove the feeding baby profile proved to be effective at absorbing the paint and creating a unique profile.

The size A5 of the print is small but surprisingly I didn’t feel the need to go bigger in order to focus on the technique.  I think this encouraged me to be more efficient with marks.

Theres a sense of wanting to create something which is not your normal portrait especially when seeing work from artists like Yuko Nasu (Nasu, s.d) and having read Emily Balls book about portrait painting.  However developing this into something which works in printing and compared to doing something more obvious visually is difficult and must take time.   I do feel I was able to apply relevant marks and emphasis in each print to achieve some of the strengths I set out at the beginning.  For example the emphasis on the mouth with a pull effect helped reinforce the talking moment.

Displaying the prints with space in-between improves the ability to take in the each portrait better than if they were displayed without space in-between.

Its interesting that this time I found ink to be less useful compared to charcoal or acrylic and use of fingers when creating the portraits.   This maybe a result of the blind exercises opening up new possibilities and a greater awareness of my face.   This is pushing me to look for and try things to achieve different emphases such as sharper bony parts of my face and how tight the skin feels.   Obviously using touch is something new and I’d like to explore this further.   I see it as a form of direct observation but I need to relearn how to interpret into marks.

There has been an element of creativity out of drawing and redrawing my portrait through the drawing from photos to adding what I find through touch to painting and removing paint on glass, each time I’m slightly altering the image.   This reminding me of the exercises from Emily Ball’s book and how this process can lead to very different results.  This was most evident in the feeding portrait where I couldn’t see the image I was copying.

I realised the potential for using a piece of rug left under the printing paper to create the mouth and surrounding skin by how it appeared and how I felt my mouth in such a position.  I also liked that the print would be less predictable in terms of how the marks would mix.

Spending time to look at artists such as Annie Kevans (Kevans, 2006) helped me to focus efforts on simplifying portraits down with minimal marks.   It opens me up to trying things I like in different contexts even though it looks like it might not work such as using Kim Baker’s approach to painting large bright marks on dark backgrounds.   I often find I think too much and that when I try to paint more it leads to more insight.   Kevans portrait composition also influenced me to keep a similar head and shoulder frame.   Also the way she displayed the work compared to other artists helped me see how to give the viewer more space to see each portrait  and as a series.

Emily balls book (Ball, 2014) influence on mark making and trying to look at my face differently from touch and seeing different angles.


Baker, Kim. (2017) Floral Landscape. At: Accessed on:24/8/17

Ball, Emily (2014) Drawing and Painting People. Marlborough: The Crowood Press Ltd.

Kevans, Annie. (2006) Shakira. At: Accessed on:24/8/17

Saatchi Art. (s.d) 0108 Painting by Yuko Nasu.At:  Accessed on:24/8/17

Assignment 3 Monoprints

What is going to be the theme for the 3 monoprints?  Fitting into a culture was the theme from the previous assignment.   I could explore a continuation, expressing the differences in cultures or how I changed from arriving to current life and any changes.

Alternatively ‘being a father’.  Explore from my sons perspective by using photos of me taken by him.   I selected 3 photos, feeding his baby sister, playing with him, telling him to do something.   Interestingly these were not staged but more natural and I’m therefore seeing these as reflection of me being a father.

A similar theme could look at painting his sister from his photos.  Again I was liking the charcoal and finger painted approaches but not ink.    This is as much about the act of painting as it is the end result and the ink seems less physical.


I felt I’d benefit more from studying self portraits than that of my daughters mostly for practical reasons of getting enough time to practice.  I like the idea of using photos taken by my son to show his perspective of me being a father.

Feeding the baby

Looking to show closeness, comforting, quiet, warm and soft.  I’m thinking more muted colours, touch with the babies hand playing with my hair, soft light with no strong contrasts, relaxed, eyes closed.


My exploration involved looking at making the paint glow like Kim Baker (Baker, 2017) with layered, bright large brush marks showing the form on a dark background.    I liked the large sweeping brush marks and the way they simplified the form taking away any unnecessary marks I often make.   However the bright marks on dark is too intense for this subject.  I could try adding another layer or starting another with different strokes to get a different look but felt either was unlikely to be successful.

The red/pink painting created a more gentle feel but the brushwork is not clear, getting messy suggesting simpler would be bettter.

The blue brushed painting on aluminium felt like how I was intending except the cool colour didn’t feel appropriate.  Here the eyes draw the most attention and help show this more about comforting.

Including the babies hand was more a personal touch which relates to an intimate moment and associated feeling.  Whilst this is not necessarily relevant to my sons perspective it is something that did happen often in such moments and added subtle meaning.   On balance this may have come out too strongly in some prints.

The angle of the head in the photo suggested I should make the profile a feature of the print and start by removing the highlights with various things which I explored in the exercises.   Tissue for the face profile, old rug for the clothes and paint stick for hair.   Wiping away the profile proved hard to follow the underlying drawing and was always going to be less accurate and different each time.  In the first print I found a strange circle on the head caused by some material getting stuck under the paper whilst printing (I liked the effect and noted it to reuse later)

The prints on rice paper (which was very absorbent) looked asian which maybe because of the simplified eyes and light paint.   I kept the paint thinned to create a more subtle portrait in the same way little ink is used on Chinese paintings background.  Interestingly the ear looks like a tiny hand playing with hair and this led me to use the combination intentionally in some of the other prints.

Once I had prints of the other two portraits I started to see the choice of colour needed to fit in more ( a shade too red) when seen as a series.  Also looks like I’m concentrating on the phone.


Looking to show humour, playful and noisy.

I started with a painting on aluminium that had more likeness. This is probably the most likeness I’ve achieved but it felt too serious to be about playing.   The simplified paintings using Annie Kevans approach didn’t look like me and also didn’t feel fun.   I then changed to using my fingers and using primary colours.  This felt more playful both to do and the result.  Adding a hand to hide behind was also interesting and made me focus on the eye peeking through.   I found painting with my fingers and palm created greater connection with my face and the painting.   I’m finding the ink paintings tend to end up with me painting edges or lines in a way I’ve always done and unless I exaggerate something it lacks expression or feeling.    Charcoal sticks offered something in between where I could use my finger to smudge the marks.

For the print I wanted to capture a likeness following Annie Kevans (Kevans, 2016) simplified approach where the eyes and mouth stand out the most.   I like the composition with the portrait almost coming out of the paper, the direction of the brush strokes and lines of the clothes makes a flow along and around the length of the head.   Its clean.   The print made using kids paint and my finger lacked any interesting features or definition.   Using oils I used rubber gloves to paint with my finger which came out similar to the original paintings I’d done.    Whilst there is a personal element to using your finger the   Per

The final print held greater definition around the features like eyes and smile lines.  There is a more playful expression but the extra focus makes me look older.   Eyes take focus and the clothes looked better with less uniform creases and varying colour.  The darker marks on the neck helped define and bring out the face.


Looking to show full mouthed, expressive, defined features and high contrast, bold, authoritative, loud.   Mouth to standout (red on blue), looking down slightly.

An earlier exercise using charcoal dust led me to try using my palm to quickly make the first layer of paint before using my finger to paint key features.   This I felt created a strong image of someone making a point.

I used a small ball of material under the print paper (like the mistake in the feeding baby print) to intentionally capture my open mouth telling my son to do something.  The mouth now becomes the focus.   This also led to me smudging the lower part of my face. Whilst this didn’t look like me I found the gaze intense and direct and along the right lines.  I didn’t paint the glasses thinking I could paint them on after.

The vertical straight background print felt too calm and quiet besides being too faint.  I used paper which was not absorbent enough.  I painted this in 3 layered prints and the first had faint marks which didn’t contribute to the portrait making it feel less clean.

The next print felt louder and cleaner and as if about to say something.   I think the direction in the marks in the background help show something is radiating out.   The lips felt over the top and inappropriate for the portrait like I’d kissed it with the paint.  These 2 portraits were made by doing 3 prints on the same paper, layering different elements such as background colour, more detail, key facial features.   This worked ok and enables you to create dark strokes over light keeping them much cleaner that if painted in one layer.

I tried to layer a distorted portrait with large coloured strokes like Kim Baker’s flowers however it came out dull.   The marks not really helping to create form or expression.   I think the layering thinned brush work over any other paint would come out dull and not suited for printing in this way.

The distorted swirling print influenced by Yuko Nasu (Saatchi Art, s.d) looked asleep.  I do like the swirling patterns and perhaps could use to form a portrait.

The distorted face with a receding eye reminded me of a cloud blowing.   The framing of the face so close would not fit with the other portraits so I quickly discounted it.

Changing the background to a salmon colour helped make the cooler face project forwards.  Using the heavy weighted printing paper enabled the extra solvent mixed paint to bleed more especially around the mouth where I was hoping to achieve a pulled effect with something under the print paper.  This didn’t work as effective as the first time but I did get some interesting bleeding and blurring of the colours.   This contrasts well with the straight lined clothes and overall feels like I’m talking in a serious manor.

Final 3 prints

First a look at how artists have displayed their series of portraits.

Annie Kevan’s portraits (Rosen, 2017) show famous people (mostly historical) together as a collection with instant likeness.  The consistent emphasis on key features, hair and clothes with simplified strokes and colour provide a visual consistency that make who is in the collection stand out.  They are positioned equally with space between so that you can view each individually and that the collection is also important.

Yuko Nasu’s (Nasu, s.d) portraits are mixed with different emphasis, colours and level of distortion.  They are positioned very close, almost touching with just a small gap.  Its a bit like lots of people in a room with those crazy curved mirrors where everyone gets some part of their face blown up or shrunk.

Luc Tuyman (this is tomorrow, 2015) takes a more extreme approach compared to the others by displaying them on a brightly light white wall with huge amounts of space around each painting.    They have visual consistency of colour and style and subject and are small relative to the wall.    It seems the subject is on the depressing side and the space allows the viewer to feel and explore this better without being distracted by the next.

Chantel Joffe (Cheim & Read, s.d) gives each of her portraits (of various sizes) space, often a whole wall.

I think my prints are to be viewed as individual moments of being a father which is basically happy.  There should be sufficient space to feel each separately and relate to the next.   When comparing having no space between each and then with space I find no space is too much to take in, too overwhelming.   Giving each print space feels more relaxed enabling you to view each one whilst seeing them as a series in a similar way to Annie Kevan’s display (Rosen, 2017).   I find the talking print needs to lead from the left because it shouts the most and I felt its best to look from left to right.   Vertically is harder to view them although it reminds me of the photo print strips you get from the passport photo booths.  Vertical arrangement may have been more appropriate if my son was included and you get some surprise photos.



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Most successful print is the ‘talking’ print because it captures the expression and sense of saying something.   This print also has the most variety of marks such as the blurred mouth arising from the print lifting around a piece of rug placed over the mouth. Contrasted against straight sharp almost formal clothes.  The bold simple dabbed eyes and the neatly brushed hair.  The others have interesting marks and simple bold eyes but the marks are perhaps too conservative.   I wanted the playing portrait to appear louder more fun than the others or at least the feeding portrait and I feel this is not so obvious. The feeding portrait needed to be softer.

To develop this work I would like to look again at making the playing print more fun or humorous.   Look again at using some of the finger painting but applying in multiple printed layers with some brushed work, use of other body parts?    For the feeding portrait I could try a lighter background to reduce the profile contrast, then more exaggerated features in subsequent layer but lighter on the hair.   Having seen Luc Tuymans The Shore (this is tomorrow, 2015) I could try zooming in on key features of each moment such as eyes or mouth.   I did consider this but thought this would reduce the consistency in the series and often its more than the eye or mouth which is defining the moment.   Obviously I could look to extend this series by looking at other moments such as being tired.


Baker, Kim. (2017) Floral Landscape. At: Accessed on:24/8/17

Cheim & Read. (s.d) Chantal Joffe. At: Accessed on:12/9/17

Kevans, Annie. (2006) Shakira. At:  Accessed on:24/8/17

Nasu, Yuko. (s.d) Hayley Lock None of Beauties Daughters Yuko Nasu & Liv Pennington. At: Accessed on:12/9/17

Rosen, Miss. (2017) Artist Annie Kevans sets the historical record straight. At: Accessed on:12/9/17

Saatchi Art. (s.d) 0108 Painting by Yuko Nasu. At:  Accessed on:24/8/17

this is tomorrow. (2015) Luc Tuymans: The Shore At: Accessed on:12/9/17


Drawing and painting people – Emily Ball’s approach

I started reading Drawing and Painting People (Ball, 2014) whilst I started part 3 and found it relevant and offering practical exercises to get me approaching portraits in less conventional ways.

Looking at basic marks and following a conversation of marks I made some very different marks.   The interesting ones tend to be contrasting.   Knife edge against lighter broader strokes, scraping paint with different colours to get a mix, opposing direction in strokes.   This was good to do and I feel I maybe was too reserved and could have pushed further with maybe using more of my body to paint.


Drawing blind was also much more interesting to do because it gets you to draw from feeling and not sight.  This gave me more awareness of the thing I was drawing than just sight.   I found it hard at first and the objects didn’t look good or interesting.     Drawing the head looked like an exploded picture.   I did this on the floor and found it hard to draw with the one hand.   I often felt unsure about how to translate what I felt with what to do with my hand.  For example moving my hand down my nose I could feel the shape and and how rough it was and I wondered whether to change pressure or direction when moving down my nose.

Moving charcoal dust with my palm mostly came out with grey smudges which may mean I over worked the smudge.     For the marks on top of the smudge I ended up trying to translate the shape as I expect it to look but trying to change pressure on the feeling.  E.g. sharpe edges would mean more pressure and soft very little.  I felt there was some good things appearing like the emphasis on parts like the bone in the corner of my forehead above the eyes and the showing of the lips, simple eyes although always shut.

Painting with 3 brush sizes and coloured paint.   Using a large brush first to capture a sense of direction of the surface, mid size for more detail like bumps.  The small brush to capture key areas such as glasses and hairs.  Overall it felt a little flat, didn’t capture eyes because I felt I needed to see what I was painting.   Theres a hint of a skull because of the missing eyes and mouth.


Taking different perspectives (front and side) and layering these did create something I liked.  Its like the head has turned away quickly and you get this blurred view where you’ve seen it from the front but now focus on the side view.



Ball, Emily (2014) Drawing and Painting People. Marlborough: The Crowood Press Ltd.

Exploring more liquid flowing painting

Following feedback from my tutor I looked at different painting media to create liquid flowing qualities and also another look at Mimei Thompson’s work.  I started exploring sansador solvent with oils (couldn’t find Liquin locally so only used sansodor).    On canvas this just absorbed fast creating flat smooth strokes with streaks as the brush got drier or if used insufficient solvent.  The finish was matte and dull.    Tried removing oil with Sansodor on a rag shirt and found it only removed part of the paint leaving it a shade lighter.  On aluminium I got more of the brush work showing with greater fluidity with more a brighter glossy finish.  It also dried much slower.   However with more solvent I got small rivers where it collected and ran showing the aluminium.    On plexiglass I was able to create fluid strokes where the brush marks where clearly visible.   Interestingly the effect of painting a more solid part of the reverse of the plexiglass made it feel the fluid strokes were in focus and the solid strokes blurred.  None was able to mimic Mimei Thompsons technique.


I finally acquired some liquin (original) and tried this on aluminium and PVA primed canvas with more success.  The brush strokes maintained the marks with greater fluidity.   Using more (a lot) of liquin helped.   The result is much brighter where the brush is able to move the paint across the surface leaving the marks similar to Thompson.    The aluminium was better because of the smoother surface.  I understand that Thompson sanded her gesso coated canvas to a smooth finish and coated it with some sort of acrylic primer.

The flowing solvent inspired me to try using it to create rivers I’d seen whilst in the mountains.   This worked well at giving the right feel but took too much of the focus overall.   Perhaps a glaze over the mountain to reduce the contrast and sharpness might help.  I also painted a view of the island nearby.  There needed to be more variety in the brush marks e.g. sky could have been smoother/flatter.  Water could have more streaks with more paint/colour.

Exercise 3.2 Monotypes

I started practicing the monotypes using my ink portraits from the previous exercise.  I found the process fun to first paint on glass over the original and then make a print.   I used glass because I had a piece for a palette.   I started with yellow for highlights and a darker colour for shadows and painted the shadows first.   It reminded me of colouring in a kids colouring book.   The prints have a dry brushed quality and flat with little depth.   I feel unsure about what needs extra paint once the print is done because they are consistently painted leaving me to touch all of it.  This is partly down to there being very little differences in value in the ink painting.  I try adding more to the shadow where the original had more and this didn’t help in most cases.   I tried removing paint from the eyes (on the glass) which I found helped create instant focus on the eyes and made the face feel like it was looking harder at me.   I then felt the yellow was not adding to the print and removed it leaving no paint.  I found using more solvent helped bleed colours and to lesson the brush strokes creating a sponged effect.   The less solvent meant more of the brush strokes remained visible.  It seems that the type of paper used for printing affects the result.   I’ve used mostly silver printing paper at 250gsm which comes out lighter than using thiner drawing paper at 100gsm which absorbs more paint.

Then I decided to try using a photo of someone else.  This lead me to try applying more solvent to the background to create pattern and less focus on the brushwork.  Then to use less solvent on the face to get sharper brushwork showing the facial features.   I found too much paint on the face resulted in loosing the features, even though it looked ok on the glass the print came out too dark.  Like Eleanor Moreton I used a large brush for the background with a darker value and a smaller brush with lighter value for the face and body.  I love some of the unintended effects for example where the paint had more solvent mixed in the background resulted in a sponged effect.  With sufficient paint and solvent the effect had a wet look with lines joining the dots, with less the effect became drier and dotty.    The sharpe brushed lines on the jacket came out lighter than expected but the lines create an interesting delicate pattern that is flat and feels like clothing.

I considered simplifying the face to features like Annie Kevans however this is harder than it looks.   I felt I needed to paint more of the wrinkles and facial lines than just the eyes nose and mouth.   The result feels more a caricature.   I think I needed the blue to be a lower value so that the eyes and mouth stand out more and the background a touch lighter.   I tried again and this time kept the background blank and most of the face, then using a pale red paint the shadows on the face.  This came out much better with greater likeness than many of the others.



Whilst doing this exercise I tried to drawing the portrait using marks similar to how I’d paint it and found it useful to get a feel for how I might do more sketches like this.  Although it did have more detail than was necessary.


Exercise 3.3 Removing paint

I tried removing paint using a soft rag with a bit of solvent from the eyes and mouth like Yuko Nasu however being on glass there was little trace of what was.   I did try a light touch and managed to get a swirl effect distorting the eye.   Certainly leaving eyes and other areas blank helped make them standout in print.

I used rough rag on the clothes resulting in streaks like a dry brush.  I used tissue paper to remove highlight on nose, eyes, cheeks and ear.   I used cotton buds along wrinkles and in the background, I used paint moving stick for hair giving a sharper line.  On the last I painted the whole area one colour then removed highlights with various items, like a rag, cotton bud, brush with varying amounts of solvent.    The result is striking and reminds me of the earlier work in assignment 1 where white was painted on dark ground.   Using different things to remove paint creates contrasting marks.  The vertical blurred wavy background helps bring the portrait forward.  The sharper curved lines of the clothes helps frame the portrait.


The following are some of the prints I rejected mostly because they didn’t have enough contrast or detail.

Exercise 3.4 Adding paint

I selected the last print with removed highlights to try  adding a layer of warm darker paint to create more definition and contrast.  Unfortunately I forgot to photograph the original print.   I liked the way the brush marks flowed in the neck and onto the jacket and also the way it flows around the eye drawing attention to it.    It feels soft and more like a print with a second print on top.

I selected the simplified painting (based on Annie Kevans) and tried to create greater likeness by defining the eyes and mouth stronger leaving the  rest of the face untouched.  Also adding more definition to the clothes by crossing against the original brush marks.  This feels less like a print.

I found the first print with the sponge effect background more interesting and wanted to try creating more definition.   I maintained the dry brush work around the eyes and more to the hair to create the definition.   I also blended more paint into the neck.   The eyes draw the focus then the mouth which I left mostly untouched.   This is more intense with both a strong background and face.

Exercise 3.1 ink portraits

The first set of portraits were each painted within 10 minutes because I’d not correctly read the point about painting within a minute.  Hence the difference in detail with the subsequent set where I stopped after a minute.

With more time I was able to look at the whole head and consider details such as beard and background.  Often the face got messy with overlapping brush work that didn’t add to the painting.   The contrast of the dark dry brush for the beard and light wash for shadow created simple detail which balanced the glasses and hair (top left of most interesting).   The interesting shadows of the glasses around the eyes on the middle bottom portrait is also different in the way it was done and stands out as interesting.  I think it is because of the subtle varying strengths in value of overlapping circles which  relate/connect the form of the head with the form of the glasses.  I did this on the top right portrait however I think it was lost with the hair and glasses standing out more with messy heavy brush work.  The connection is assumed and not so noticeable in other portraits which maybe something to explore.

With less time I started to get less precise and more gestural often finding ink blurring with excessive water on the paper.  It was harder to switch between water, ink/water mix and just ink with the same brush and changing brushes during such short time didn’t seem a good use of time.

The ones which stood out showed greater facial expression or had interesting ink bleeds or interesting face shape or just effective simple brush work.  The top left had a very simple profile with the glasses giving a strong glare from the eyes.  Top right resulted in a haunting distorted face with the bleeding from the eyes and devoid of expression.  By focussing on blurring the eyes area with water perhaps distracted/conflicted wth providing focus on the eyes which naturally draw attention.  Bottom left the strong glasses start to bleed into the face down the side of the nose.  The sharper eyes and glasses again drawn the attention  (it seems better where I’ve applied water).     Middle bottom has interesting shape for the face down the left which feels more caricature but it draws attention to a face profile whilst being front facing.  The bottom right feels angry in expression from the eyes, right eye in particular.