Charcoal on Utrecht bristol, 14" x 10".
by this time i had reduced the shading and lapsed back into outline; siena had swept her hair back with one hand so the complete right side of her face was in sunlight. all for better, as i was concentrating on the mouth and eyes in this emotion.
doubt is not one of the "universal seven" but it is pretty unambiguous all the same. ekman also left out awe, grief, guilt, shame, horror and other "moral" emotions, which were the meat and potatoes of the tete d'expression training regime.
the selection of emotions doesn't really matter. so long as they are balanced between positive and negative, aroused and depressed, honest and duplicitous, drawing emotional expressions is a fantastic exercise. it teaches details of facial anatomy you can't learn well any other way. and it teaches you how to turn the details into a coherent image.