I'd say about 98% of my pieces have faces. Facial expressions capture focus set the tone of the painting. It's also where I begin my pieces. The face is usually so crucial since it's where I can best ensure to evoke the emotions I want. So when I approach a piece that has no facial expressions the other elements and body language have to carry that burden. It also pushes me to add interest to some of those elements, as in the case of these white briefs. Making them slightly pulled down and slightly translucent adds, to borrow a cooking term, 'depth of flavor'.