An article I wrote some months back about face reading remains one of the most popular articles on our website (thank you, readers!). When I celebrated my birthday this year, I asked Ting-Foon Chik to draw up my natal chart. Foon, who now writes a monthly astrological forecast for Radio86, had graciously said she would also be happy to do a face reading for me.

Truth be told, the prospect of having a face reading session was something I approached with trepidation. I wasn’t sure that I really wanted to know what my face was saying about me. What if one of my facial features was causing me bad luck, should I have plastic surgery?

But then again, my colleagues “encouraged” me to go for it. It would be a fun experience, they said. Since Foon is based in the UK and I’m based in Finland, we would have to do the face reading through photos. Foon asked me to send her a photo showing my hairline and ears as well as a profile shot.

I got the reading from Foon a few weeks ago and while she said I shouldn’t consider it a formal report – face reading is best done in person – here’s what I found out:

Face shape. Foon said that my smooth and fleshy face is considered auspicious in face reading. My roundish face shape indicates a nice, friendly, easy-going personality with good social skills. She also said that people with round faces also tend to be apart from parents. I have to agree with the things she said. I do consider myself quite easy-going and it seems, I might even be a bit too friendly. Also, since my parents live more than 9,000 kilometers away, that observation about being apart from parents seems to be on the dot as well. It probably wouldn’t hurt either if I sent my parents regular emails or called them more often.

Mole on the nose and small ears. I have a quite large mole on the left side of my nose which I think of as something I inherited from my paternal grandmother. According to Foon, its location on my nose cab indicates that I could have had health concerns related to the right side of my body during my mid-teens. I don’t recall specific incidents of ill health during my mid-teens, except for an episode of dengue fever and I’m not sure which side of the body that affects. Small ears also indicate weak health as a child, she said.

Forehead. My smooth and high forehead indicates that I received good care as a child (thanks, Mom and Dad!). My career should also progress well.

Profile. Foon said that my profile indicates that I am ambitious, outgoing and can get easily excited. Hmm, this one’s a bit tough. I’ve always made it a goal to do my work well and I’m not sure if that counts as ambition. I am outgoing and I enjoy the company of people. I’m not very shy either, no matter my protestations. And yes, I could get excited quite easily, but there’s so much joy to be found in simple things anyway.

Read more at http://www.radio86.co.uk/explore-learn/culture/9290/sample-face-reading-finding-out-what-my-face-said-about-me

More to come :
Humans have a remarkable capacity to perceive, to discriminate, and to remember faces. Our ability to recognize one another is critical to successful navigation in our social world, and faces—despite sharing the same basic features in the same basic configurations—serve as a primary source of individual recognition. Attempts to explain this ability have inspired the development of numerous empirical and methodological techniques in the fields of psychology, neuroscience, and computer science. Until recently, most experiments in face perception have used raw or manually altered photographs of faces as stimuli (e.g., Ellis, Burton, Young, & Flude, 1997; Tanaka & Sengco, 1997). Although this has allowed researchers to stay close to the phenomenon of interest, reliance on these stimuli has resulted in a number of important limitations. Photographed faces are largely uncontrolled stimuli; they are rarely matched for size, orientation, or lighting conditions. In addition, photographs do not provide a systematic way of modifying face-specific image properties, which severely limits the extent to which similarities between stimuli can be measured, controlled, or manipulated.

Valentine’s (1991) proposal of a face space, in which faces are represented as points in a high-dimensional space and distances between points represent perceptual dissimilarities between the corresponding faces, provided a theoretical framework in which relationships between face stimuli could be formalized. This general framework, along with a few axiomatic assumptions, produced elegant explanations of several well-known phenomena in the face perception literature, including the distinctiveness and other-race effects. Without direct control over the actual face stimuli used in experiments, however, it has been difficult to empirically test whether the assumptions behind the general model hold true.

For example, Valentine (1991) conjectured that typical faces occupy a dense, central region of face space, whereas distinctive faces lie in the sparser periphery of the space. This claim has been used as an explanation of the well-reported phenomenon that distinctive faces, being farther from each other and therefore less confusable, elicit better recognition performance than typical faces. However, the original claim regarding the spatial distributions of typical and distinctive faces cannot be tested without a method for assigning particular faces to particular points in face space. Another example involves the phenomenon of cross-race identification. Several studies have reported an asymmetric own-race bias in the recognition of faces (see Bothwell, Brigham, & Malpass, 1989; Meissner & Brigham, 2001; Sporer, 2001). In particular, Caucasian subjects often show better recognition performance with Caucasian faces compared to Asian or African American faces, whereas Asian or African American subjects perform just as well with both types of faces. Researchers debate the cause of this asymmetry, with some focusing on differences in exposure to cross-race faces between the two groups (e.g., Tanaka, Kiefer, & Bukach, 2004), others highlighting the role of differences in race homogeneity (see Lindsay, Jack, & Christian, 1991), and still others implicating social factors such as status and attitudes (e.g., Barden, Maddux, Petty, & Brewer, 2004). Having a concrete measure of the physical variability of faces within and between race and other demographic groups would help resolve this debate and contribute to our understanding of how individual faces and face categories might be encoded.

Since Valentine’s (1991) proposition of the face space model, several different image-processing techniques have been developed to enable the measurement and manipulation of similarity between faces. The most popular methods have included the use of eigenfaces (e.g., Turk & Pentland, 1991), landmark-based morphing (Benson & Perrett, 1993) and 3D reconstructions based on laser scans or photographs (e.g., Blanz & Vetter, 1999; Bruce et al., 1993). Although these methods have contributed to our understanding of face representation, they have fallen short of providing a fully reconstructive face space model that would enable the controlled generation of parametrically defined stimuli.

The eigenface method decomposes images into a set of dimensions based on variations across pixel values. Because the processing is done on raw pixel values, even slight variations in lighting conditions among the original photographs can have massive effects on the eigenvalue decomposition, which can cause two faces that are perceptually similar to have vastly different eigenface representations. In addition, if face images are not precisely aligned and normalized before processing, the resulting dimensions in the eigenspace can be incoherent and averaging two or more face images together can result in “ghost” features. For example, averaging together a face with wide-set eyes and a face with narrow-set eyes will create a face with four semitransparent eyes. Because the relative locations of interior features vary substantially across faces, this correspondence problem cannot be avoided by simply centering and scaling face images. As a consequence of the correspondence problem, a large number of dimensions in the eigenface representation end up being uninformative, artificially boosting the dimensionality of the space to hundreds of dimensions (see Penev & Sirovich, 2000).

Landmark-based models provide a way to solve the correspondence problem. The method requires the manual placement of a few hundred points on identifiable face parts, such as the tip of the nose or the corners of the eyes, across a collection of face images. This spatial coding produces a high-dimensional space of landmark locations that allows for arbitrary averaging, or morphing, among the set of coded face images. However, the method does not provide a fully reconstructive parameterization; the location of landmark points alone, without accompanying color or texture information, is insufficient to reconstruct a face image. Therefore, reconstructions rely on detailed information from the original face images that is extremely high-dimensional and largely uncontrolled across images (see Beale & Keil, 1995).

Picture of Mark Mezvinsky and Chelsea Clinton

Coming soon: An in-depth face reading that will provide personality analysis on Chelsea Clinton and Mark Mezvinsky and how compatible they are as they look forward to getting married. Through face reading, we will examine cues hidden in their respective faces and how their personalities can translate into a healthy(or unhealthy) relationship.

Details of their engagement story:

Chelsea Clinton, the 29-year old daughter of former President Bill Clinton and Secretary of State Hillary Rodham Clinton, has become engaged to her longtime boyfriend, investment banker Marc Mezvinsky.

Matt McKenna, a spokesman for the former president, confirmed the engagement Monday. The couple sent an e-mail to friends Friday announcing the news.

“We’re sorry for the mass email but we wanted to wish everyone a belated Happy Thanksgiving! We also wanted to share that we are engaged! We didn’t get married this past summer despite the stories to the contrary, but we are looking toward next summer and hope you all will be there to celebrate with us. Happy Holidays! Chelsea & Marc.”

Read more at http://today.msnbc.msn.com/id/34206010/ns/today-white_house/?GT1=43001

Classic Elegance

You look particularly good in a work suit or dressed for a formal function. However, your make up brings a sense of class to any occasion. Although distinctive your make up should never be overpowering. Dark lines can be used to create a dramatic look emphasizing the eyes and lips. Pastel colors and lip gloss are not your tools of choice. Classic can encompass many styles but not girliness. However, care is still needed not to overdo the face paint. You should stand out in the crowd but no for the wrong reasons.

Natural Beauty

This is a woman who is comfortable in the skin she’s in. She isn’t immune from putting on make up but she does use it sparingly. Cosmetics should only be used to compliment the natural beauty of the face, not to cover it. Bright colour, harsh tones and anything which distracts from is avoided. Earth browns and cocoas are the shades of choice. Subtlety is the key. A little powder, a feint line of mascara and a natural shade of lipstick is all you need.

Vibrant Indulgence

What’s the point of subtlety? If your make up looks good why limit yourself to a touch here and there. Vibrant indulgents like to create a sense of drama with heavy eye liners and mascara to bring out the eyes and strong lipstick to accentuate those juicy lips. Of course you need to be careful to do it right otherwise you will look like a lady of the night. But do it properly and you will be a head turner for all the right reasons. Experimentation is needed to find the best combinations but the boundaries are far and wide. A myriad of colours and styles can be worn and worn well. Not only does your make up make you look sensational but it fills you with a confidence you might not have au natural.

Soft Romantic

You like a natural look but you prefer to use make up to create it. Pastel pinks and peaches are the colours of choice to create a soft, subtle look. The key is never to wear too much. Less really is more. Your make up should be complementing your face not putting a blanket over it. Hard lines and strong colours should be strictly avoided. Mascara in particular should e applied very lightly. Lipstick can be used to emphasise the lips but it shouldn’t stand out at a hundred paces. The idea is to create a sense of warmth and desirability with a soft touch.

by Sophia Sandrelli
via: http://www.womenrepublic.co.uk

Soon after birth, when our eyes have already the power of sight, but do not yet perceive, the first object which presents itself to the yet virgin pupil is a human face. When in our last hour our gaze wanders in the supreme anguish of the death agony, our eyes most greedily seek a friendly face on which to rest ere they are closed for ever. The human face, on which can be painted an immense love or an eternal hatred, a sudden sympathy, or an invincible repugnance, is for us the most interesting thing in the universe. All the libraries in the world would not suffice to hold the thoughts and the feelings which the human face has awakened in man since this poor intelligent biped has trodden the soil of our planet. Religion has made it a temple of prejudices and of adoration; there justice has sought the trace of crimes; thence love has gathered its sweetest pleasures; finally, science has found there the origin of races, the expression of diseases and of passions, and has there measured the energy of thought. The dictionaries of our languages have gathered together all the fruits of our aspirations, our studies, and our researches, superficial or profound. Art has represented it in all its infinite variety and mobility of expression; the first artist, who with flint style sought to trace some lines on the bone of a reindeer or a stag’s horn, produced with a circle and three or four points a coarse sketch of a human face.

This universal cult of the human face is fully justified. In it we find assembled, in a small space, all the organs of the five senses, nerves sufficiently delicate, muscles sufficiently mobile to form one of the most expressive pictures of human nature. Without words our face expresses joy and grief, love and hatred, contempt and adoration, cruelty and compassion, delirium and poetry, hope and fear, voluptuousness and bashfulness, every desire and every fear, all the multiform life which issues each instant from the supreme organ—the brain.

Many centuries before science had collected the materials of our observations, the necessities of social life had taught us to observe the human face, to read there the thoughts of the mind and the feelings of the heart. Thence was born an empirical art without rules and without method, which was transmitted from father to son, the inheritance of a rough experience.

The human countenance is such a complex study that in analyzing a face, the physiognomist should be careful never to give a definite opinion without having thoroughly examined all the features individually, and also their relation to each other. The slightest difference in the position of any organ will alter the balance of the face, and unless extreme caution is exercised, even a trained eye may easily be deceived. If an analysis is made from a photograph, a silhouette or photograph of the profile is necessary as well as the full face.

In reading character from physical characteristics the points to be observed should be grouped as follows :

1. Proportion of head and body.

2. Shape of head, and position.

3. Harmony and balance of the features.

(a) The lines and contour of the face, full and three-quarter views.

(b) Also the curve and relations of the parts, especially the eyelids viewed in profile.

4. Texture and color of the skin.

5. The features, commencing with the forehead, nose, eye, mouth, ear and neck.

6. Gestures and movements of the body.

In order to judge properly, and to apply the proportions of the skull to the reading of character, we should note:

(a) The relation of size of the head to the body.

(b) The line from nose to crown of head.

(c) The cephalic index.

(d) The facial angle.

The son generally appears to inherit moral goodness from the good father, and intelligence from the intelligent mother ; the daughter partakes of the character of the mother.

If we wish to find the most certain marks of resemblance between parents and children, they should be observed within an hour or two after birth. We may then perceive whom the child most resembles in its formation. The most essential resemblance is usually afterward lost, and does not perhaps appear again for many years; or not till after death.

When children, as they increase in years, visibly increase in the resemblance of form and features to their parents, we cannot doubt but there is an increasing resemblance of character. How much soever the characters of children may appear unlike that of the parents they resemble, yet will this dissimilarity be found to originate in external circumstances ; and the variety of these must be great indeed, if the difference of character is not at length overpowered by the resemblance of form.

I believe, that from the strongly delineated father, the firmness and the kind (I do not say the form, but the kind) of bones and muscles are derived ; and from the strongly delineated mother, the kind of nerves and form of the countenance ; if the imagination and love of the mother have not fixed themselves too deeply in the countenance of the man.

Certain forms of countenance, in children, appear for a time undecided whether they shall take the resemblance of the father or the mother; in which case I will grant, that external circumstances, preponderating love for the father or mother, or a greater degree of intercourse with either, may influence the form.

We sometimes see children who long retain a remarkable resemblance to the father, but at length change, and become more like the mother. I undertake not to expound the least of the difficulties that occur on this subject; but the most modest philosophy may be permitted to compare uncommon cases with those which are known, even though they were inexplicable ; and this, I believe, is all that philosophy can, and ought to do. i

We know that all longings, or mother’s marks, and whatever may be considered as of the same nature, do not proceed from the father, but from the imagination of the mother. We also know, that children most resemble the father only when the mother has a very lively imagination, and love for, or fear of the husband. Therefore, as has before been observed, it appears that the matter and quantum of the power, and of the life, proceed from the father; and from the imagination of the mother, sensibility, the kind of nerves, the form, and the appear

There are certain forms and features of countenance which are long propagated, and others which as suddenly disappear. The beautiful and the deformed (I do not say forms of countenances, but what is generally supposed to be beauty and deformity) are not the most easily propagated; neither are the middling and insignificant; but the great and the minute are easily inherited, and of long duration.

Parents with small noses may have children with the largest and strongest defined ; but the father or mother seldom, on the contrary, have a very strong, that is to say, large boned nose, which is not communicated at least to one of their children, and which does not remain in the family, especially when it is in the female line, ft may seem to have been lost for many years, but soon or late will again make its appearance, and its resemblance to the original will be particularly visible a day or two after death.

Where any extraordinary vivacity appears in the eyes of the mother, there is almost a certainty that these eyes will become hereditary; for the imagination of the mother is delighted with nothing so much as with the beauty of her own eyes. Physiognomonical sensation has been hitherto much more generally directed to the eye, than to the nose and form of the face; but if women should once be induced to examine the nose, and form of the face, as assiduously as they have done their eyes, it is to be expected that the former will be no less strikingly hereditary than the latter.

Well-arched and short foreheads are easy of inheritance, but not of long duration 5 and here the proverb is applicable, Quod citofit, cito peril. (Soon got, soon gone.)

It is equally certain and inexplicable, that some remarkable physiognomies, of the most fruitful persons, have been Wholly lost to their posterity; and it is as certain and inexplicable, that others are never lost. Nor is it less remarkable, that certain strong countenances, of the father or mother, disappear in the children, and perfectly revive in the grand-children.

Did you know that by reading a person’s face shape personality, you could actually determine their traits or behavior? Faces are always interesting to observe. They tell so much about a person and come in various shapes and sizes.

Studying one’s face shape personality is nothing new. People from different parts of the world have been analyzing faces for hundreds of years. In this article, you’ll also be privy to the different indicators which help determine a person’s character.

Face Shape Personality Sign # 1: Strong Jaw Lines

People who have a strong jaw line are said to have quite stubborn natures. If you notice, cartoonists who draw characters with strong or stubborn natures often make sure they come with a strong jaw line.

People with such a jaw line are also said to have authority over others. Just how well such a person thinks of himself can also be detected by the level and angle of his face.

If the person you’re talking to always has his chin up, then you can bet that that person has a great deal of confidence in himself.

Face Shape Personality Sign # 2: The Eyes

When a person’s eyes tend to wander, this could be a sign of restlessness or even dishonesty. Some say that this could even imply inconsistencies in work performance.

On the other hand, those who have steady eyes have more perseverance and straightforward personality.

Face Shape Personality Sign # 3: The Lips

Lips curved upward indicate a sunny disposition, while lips curved downward speak of dissatisfaction.

Those with narrow lips are more controlled with their emotions, while those with full lips are said to be more considerate of others around them.

Studying face shape personality is a fascinating venture. Just by looking at another person’s facial features, you’ll be able to determine just what sort of person you’re dealing with.

Article Source: http://EzineArticles.com/?expert=Michael_Lee