With the right expression, a model's thoughts and emotions can be projected through the camera to the viewers. Sometimes, a model might think that she is feeling something else inside. She might even think that she is expressing it; but the facial mask of the model may not have moved or changed. A model needs to move the muscles of the face in order to best express and project the feeling that is required of her. The expressions have to be portrayed in a manner that can be easily understood by the viewer. The muscles of the model's face must be used in proportion to the intensity and depth of the feelings inside; but, it should never be exaggerated, unless the purpose is comedy.

While the face of the particular glamour model is of principal importance (generally true when the head forms a large portion of the picture), the expression is expected to depict the specific character or situation. If the picture is intended to be for a portrait, the expressions must symbolize the key facets of the whole personality of the model or the individual. On the other hand, when the face is given only secondary importance, expressions must accentuate the story line. It has to have some correlation with the emotions suggested by the body's actions. A glamour fashion model will have to execute many of these secondary expressions due to the fact that the garment she wears is to be given the first importance. The expressions call attention to the attire or dress by showing the happiness and pride she has in wearing it.

When expressions assume minor importance and the glamour model is expected to do a little more than required, things have to be just as explicit as if it were the prime element. It must not, in any way, distract or wean the viewer's mind away from the main point of interest. The emotion shown must hover delicately in the range of expression and subordination. It needs to support the main point of interest in the displayed feeling and mood, yet should possess no apparent characteristics that have the potential to call attention to the intended thing or aspect. Each of the emotions has a means of communicating the intended feeling through facial expressions or movements. The immediate outcome or impression of each of these emotions will have to be established by the eyebrows. Upon closer inspection, one will see that the eyes of the glamour models tell the deeper story inside out.

Generally, it is the eyes that project an emotion. The eyes must sparkle and should brim with the inner reason for an outward expression. The glow and sparkle of happiness arises from a feeling of comfort and pleasure. While showing anger, the eyes have to flare with rebellion against an action or situation which caused this violent emotion in the first place. The degree or extent of anger ranges from a reaction of slight irritation to one of frenzy and fury.

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