carvingúce6

3 6    RangÄ™ of Expressions

SADNESS

These two studies, Figs 75 and 77, are quite fascinat-ing in their display ot subtle muscular interplay. On both subjects the eyes are so hooded they seem to bave sunk in to the skuli as if to hide from the awtul truth. The foreheads are distorted, but notice that the movement is not symmetrical, particularly on the older man where one side goes up and the other one down. However, the mouth area is most expressive where the nodes have been pulled downwards, in turn stretching and hollowing the cheeks, giving the tace a drawn look. The chin boss has moved upward pushing against the bottom lips creating a deep fold between them. Deep lines and folds are tormed at the bottom of the cheek. The whole becomes almost comical as you study it.

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