Stonework Stonework


Shortcuts to Character Descriptions - Faces

Bearded Men

The first thing people tend to describe is gender, the second is color, and the third is hair. So, here we are, all men, all basically European, and all with beards, but all very different. You can see that, right away. So describing a character as a "bearded white man" does a little but not much. Well, okay, you say, color of hair, jewelry, scars and clothes. Hm, a bit better, but still too stereotyped and kind of a waste of writing space. Curly hair? Color of eyes? Messy? Neat? Smiling, serious, old, young? This is like saying that we have to just get a bit more specific, but it doesn't tell us much about the character only about the thing. These things are not a "tree shaped tree" or "furniture shaped furniture" but drivers of the story, antagonists or helpers or the star of the show. And, when you look at these little sketches of faces, you can immediately tell something about the person inside. How can we do this? Prejudice? Stereotypes on expressions? On dress?

As an illustrator, if a man has a beard, there are hundreds of beard types. Young beards are very different from mature beards and then different from middle-age beards. Eyes and eyebrows are very different in shape, not just color. Many writers just give up and try to go with a vague description and put character into action and dialog. This works extremely well, Jane Austen certainly used it, but you lose a bit because you can pack a lot into a first impression of a face. Austen fell back on expressions, like "he was a proud man." What does that mean? Illustration books tell you how to draw expressions, but writers don't learn how to bridge face characteristics, expressions, and physical description.

Let's try again. I know these characters, so I'll try not to load them, but I will give you a clue as to their function and their place in the story.

Bleid 1. He had long, straight, dark hair, a slight beard and dark eyes. He was muscular and tanned.
1. His raven hair made a sharp point on his broad forehead, feathering about his face and shoulders, down his back, irritating in dry wind, at odds with the cords of his neck and his solid strength. His was a face of irony, of skepticism, of curiosity and wicked humor, his crow eyes seeing everything, darting this way and that under heavy, pointed brows. His mobile mouth was only too quick to make some caustic comment; even his beard dotted the corners of his lips, accentuating his dry disbelief.

Yes the second description is longer. Sometimes it is more important to give a more brief description if the character is not that important. This character is central to the story.

Korutos 2. He had long, curly hair bound by a fillet, and wore gold earrings. His beard was heavy and his nose aquiline. (shaped like a beak)
2. Although his black curls and beard framed his face, his eyes that were not the eyes of a dark man. Heavy-lidded and deep set with tragedy, light-colored as if veiled, they were clear and brilliant with ancient grief. His gaze was measured, weighing, trying to get into you, to see your soul and value you, for use or for judgement. His long face was noble, boned and narrow, set by the golden jewelry of wealth. He watched and spoke seldom, and was watched in return, waited for. Praise or condemnation?

People seemed to be stamped with some kind of basic emotion. In books, and especially in stories, you cannot afford to let in a wide range of modifying emotions unless they help to change or drive the character. Give us a hint to the character's past, what made his face seem like the face of irony or the face of tragedy. Writings is about exaggeration, but not about melodrama.

Duvan 3. He was blond, his beard short, his hair long. He had the look of an outdoors man. His blue eyes were bright in his tanned face.
3. His tanned, strong, regular features were of a man's man, an outdoor man, a man that women would admire, but men would follow. His light eyes looked to the horizon, his long hair windswept. He would sail the seas or hunt in its woods, climb its mountains, or explore the ends of the earth. His was simple face, a face with nothing hidden, wide and bright and heroic. Yet, one feature caught my attention, his bearded chin was weak, as if he wanted the strength and would ultimately fail.

You can also hint in a face to the future, alluding to what strengths and weaknesses will make or break a character. Play on stereotypes without using them: Americans like strong chins, thinking that this shows strength of will. Of course we cannot see lack of will in this man's face, just by his chin, but you can play on that if the character will fail.

Lugh 4. His long, red hair was curly and messy. He had a scar down the right side of his face which cut through his brow and across his cheek. His beard was tied in knots and he wore a white vest with no shirt.
4. How could he be bothered with his tangled mass of fiery hair when his attention was drawn this way and that, hurried and humorous, ready to joke, especially at himself? He was a clown. All he did amused him. His knotted beard invited comment, his broad chest invited comment, framed by a white vest that showed his golden skin to perfection. The careless scar across his eyebrow exaggerated his devil-may-care attitude as he laughed at the dour faces around him as a fire sparks at the dark.

Have fun with language and with characters. If a character is a trickster or a clown, let your language spark and bark. Show that the man is a showman, not by telling us that he was a showman, but by telling us that he desired an audience. That alludes to his weakness and character flaw as well as tells us that he's extraverted and wild.

Arn Ri 5. His long dark hair was curled into loose dreads, and his dark, sparse beard framed his wide face. His eyebrows were arched over his upturned nose. His forehead was wide and heavy and his eyes deepset.
5. He looked at us from under his modeled brow, marked by the arched bones. His eyes rode high up under the anger brows, the whites brilliant in his golden face. His pointed chin and pointed beard were like a sharp spade to dig out the truth from the mud. His dreads curled around him, as if ready to grasp at what we said and rip it up out of the muck of lies. Critical, determined, his heart-shaped face was without compassion.

At times, your descriptions can merely state what a mobile character's face is thinking at the time, so that words are not lost or contradicted by the physical description. Too often writers rely on the words to convey what is going on, when an emotional description can then be dotted with abbreviated dialog that doesn't force the character to overspeak.

Lorg Arinn 6. He was red-headed, with no eyelashes, green eyes and freckled skin. His long face had a Celtic nose. He was a merry, pleasant character.
6. When he smiled, his wrinkled eyes were suddenly laughing, his long, flat nose, was suddenly laughing, and the heavy lines of his cheeks were drawn apart, making his dour face suddenly laughing, as if the sun had come out to add to his million freckles and bleach his ginger hair with frosting. It was only in laughter that he made sense, for when solemn all the lines of his face were the wrong lines. You wanted him to be happy with all your heart. When he was not, he was lost, looking for the sun like a sodden tree, his face all wrong, his wrinkles like crushed leaves underfoot.

You can tell us that he's a merry, pleasant character, but don't tell us that. Get the reader's sympathy. This character has faced tragedy and will face greater tragedy, but he refuses to go down and get cynical, so we need to sympathize with him and feel a need for his merriment. Why should we care that he's pleasant? Let us know why we should care.

Families and Tells


It's common in writing to overdo "tells" or habits and oddities that mark a character out. In Manga, where most of the people are drawn in the same style, a hairstyle or costume is necessary to mark a character. I've seen in writing habits like "pulled on a forelock" to be used an become ways in which the reader is pushed out of the story. My son used to have long bangs that he soothed over with his fingers so that they were curled at the ends in one direction. If you use a tell, have someone else say it, like a mother saying, "for god's sake, keep your hand off your bangs when I talk to you!" that varies the tell and also says something about the character.

Another common tell is a defect like a mole or in Luaith's case above, a wounded eye that she got when a witch queen tried to kill her as a child. A person grows up knowing that they are "ugly" for the defect, these days especially women. If you write historical fiction, remember that men used to be much more vain then they are now. In my books, not everyone asked Luaith what happened to her eye, but most would want to know. If you do something like this to your character, or give them a scar or a facial defect or a crippled arm or such, don't overdo it. It can turn into a way for the readers to judge character, seeing who can get past the defect and who can not.

Families also have traits in common. Below, I will give you a range of famous people and let you know how facial characteristics are described. As you can see in the picture above, the two sets of women to the right are related to the degree that we might think of them as the same woman. Often outsiders confuse family members. In comics and illustration, they are often marked differently so the reader can tell them apart. Here I am talking about them to give you another way to put in a "tell" or a shorthand family trait that can add to your character's description. In the middle set of blondes, you could say of them "she had the long eyelid and the heavy lower lip of the Druaccii. The long eyelid, or the oriental eye, is common in Northern Europe where there was more trade with circumpolar oriental types. In the second case on the far right, you could say, "she had the heavy, straight Veldonacci brows over deep-set eyes." Deep set eyes don't protrude as much. Luaith on the left, has a normal set eye with a heavy lid. In Europeans, lips are often noticeable since many Europeans have little or no lip. You can make up a family characteristic that has some Victorian trait attached to it, like a heavy lower lip to indicate sensuality and gluttony, or the high brow to indicate nobility.

European Racial Types

Marilyn Monroe born Norma Jeane, couldn't get a job without dyeing her hair.

It's an unfortunate truth, that the smaller the racial group the more finely the are drawn the lines of prejudice. Europeans, even Americans, are very aware of racial types within the "white people" group. At times, this has led to pogroms and war. The word "slave" is a corruption of "Slavic" because so many slaves were taken from Eastern Europe at one time. The Slavs were still considered an "under" race well into the 20th Century. Among Europeans, Nordic types are the only types who are admired, even in the United States. Celtic types have long been despised, but the Colonies of Britain were settled by so many Celtic types that the prejudice is not so pronounced outside of the UK. The problem in Europe is not with lightness of skin, but in a certain kind of lightness of skin. The stereotype beauty has "peaches and cream" skin, blond hair, and blue eyes, a small, straight nose, good bone structure, including chin and high brow, and large eyes, heavily lashed and a small mouth with large, white teeth. Full lips are now in fashion where they were despised as "African" up until 1980. Men have to be medium to tall with heavy muscles, and women have to be of medium height, with long legs and heavy breasts and medium muscles. Both need to look athletic. This beauty stereotype is pronounced and annoying and persistent. The only inroads have been a slight darkening of skin and hair color. Even "black" actresses are so pale of skin that they look white when they are next to Africans.

Halle is very American and looks more like Demi Moore than this Fulani woman.

It's amusing to me when an author speaks so much of color that it's obvious that there is a color bar. Color is boring! Try to say away from color in your descriptions because features are more interesting (when used correctly) than color. People out of the mid-range spectrum have problems with color. People vary in two ways, thickness of skin on a red-gold scale and amount of color, which adds a purplish cast to the skin, not gray or brown although lighting can change everything. Size of pores can determine the reflectivity of skin. Women have used powder for years to try to hide "shine." on skin which was natural sweat. The nose has larger pores, so the nose shines. Skin reflects and skin looks red more often than brown. Asians have sometimes skin that is three times as thick as people from the Atlantic coasts. This is thought to have evolved to help with cold. The effect is a "sallow" coloring that was to be avoided at all costs in Eastern European countries. In some skin, you can see the veins, also thought to be a "bad" thing. Again, the middle is acceptable, especially in the States and Australia, where "sunburn" or tan is thought to be healthy.


Why would you describe any of these people above as black? As writers, we have so much imagination, why resorting to stereotypes is so sticky, I do not know. Yes, race exists. Yes, history exists. Yes, there was a history of slavery in the New World (and the Old!) yes, it is still shameful to be Slavic, African, Black, Yellow, Redskin, Dark, all the stupidity arises whenever you try to write out of a narrow niche of beauty. There is no need to overcompensate and talk about color on every other page. One of the wonderful things about fiction is seen in the Science Fiction series Star Trek where race never comes up! People just do their jobs and operate as if there was no race. Try that. You can always allude to it with a name (Uhura or Sulu) or some mention of a functional sort, like "he threw the gel across the room and picked his hair out." But this also goes for finer racial prejudice. There is a "PC" way of trying to not be racial, ignoring the other groups that suffer prejudice. Forget it. Don't get caught up in the mire of trying to be cool and have Africans slam redheads or Asians.

How important is color to your story? If it's not, avoid it. Who cares? We care about a character's emotions and actions, not about race or color. Hollywood cares about race; advertisers care about race. If your story is about a mechanic fighting to save an electrical facility, race is just not important. If your story is about a mechanic who knows how to save the facility but is not allowed to do so because he is black, the story is about that, so it's important. It's often offending to people of that race to try to put in "nice" things about their race. Stay away from it. "I think your freckles are cute" is a slight as much as "wow you don't have to worry about getting sunburned." Race in story is just as bad as social position or religion. It doesn't belong there unless it's part of the story. And if you bring it up, African American is as bad as European American. Try to say that your character's grandmother's people were from Kenya as European Americans say that their grandmother's people were from Germany or Asian Americans say that their grandmother's people were from Korea. Americans are orphans looking for a country, honor that. (Sorry for the rant)

Working with Illustrators


Like many writers, when I was ten I read the Lord of Rings and decided that I wanted to write fantasy books. My mother, knowing I was a fan, got me the calendars that came out at that time. The second calendar had the famous illustrations by the Brothers Hildebrandt. At the age of 12, I knew that I had to become an illustrator to do my own books. I found out later that Tolkien himself had wanted to illustrate his own world and was unhappy with most of the art that came out of his publication. What I imagined that Beorn here would look like and what others imagined was not even close. I'm not sure I recommend this course of action, for it took me more than twice as long to do both careers. As writers, you will be working with all kinds of art people to present and sell a book. If you are an emotional writer and don't have good visual descriptions, you will have someone interpret your characters for you. You may enjoy this, many writers do. If your internal visions are as strong as mine are, do character sheets to give to art people. Most art directors don't have time to read whole books. They will come to the first scene that seems good and have an artist put that scene on the cover.

You can help. You can give the art director (your editor) a description of the characters, the scene and some other miscellaneous information. If you can, point to an actor that seems to resemble your character. Artists are visual, not verbal. Some writers have been pleased with my interpretations, but others were better when they could have some input. Having said this, I had one author design the book cover for me, and that turned out to not be as nice as something I would have designed. You may have to let go of what you envision to get something better than you didn't envision. You may get a famous artist and, at that point, let it go, for the cover will sell the book.

What do you put on a cheat sheet? If you cannot go to the web and find pictures of your characters, here is a simple guide of things you should consder:
    Head - long or wide face, thick or no neck, swan neck, held high, bowed
    Brow - wide, high, heavy brow ridge, fine and narrow, low, medium
    Hair - where is the part? Receding? Fine? Thick? Curly, long, frizzy, straight, how styled
    Brows - arched, straight, heavy, winged, unibrow, wide spaced
    Eyes - deep set, protruding, bright, clear, light colored, dark, high iris (melancholy)
    Eyelids - drooping, hooded, single lid, heavy, deep set, ringed, laugh lines, inner fold, etc.
    Cheeks - high, wide, fine, prominent, gash lines under them, shadows under them
    Nose - high bridge, low bridge, aquiline, straight, Greek, uptipped, hooked
    Nostrils - wide, flaring, cut high (lowered septum) angled up, visible, narrow, small
    Upper Lip - long lip, short lip, Cupid's bow (well-defined filtrum), upcurling, drooping
    Lower Lip - heavy, divided (mouth w shaped) thin, well-cut, full
    Chin - pointed, boxy, large dimple, crumpled, soft, weak, anvil, long
    Jaw - square, sharp, softly rounded, weak, angular, strong
    Beards - Romeo (young, line around the face) Russian, Zorrow (mustache and slight beard, pointed), sparse, unkempt, groomed, sideburns, mustache, etc.
    Body - muscular, strong and thin, angular, svelt or lithe, long flanked, heavy chested, etc.,
Yes, a writer can short cut most of this with an emotional description, but most writers don't want a Picasso cover. So you have to work this out. Looking at pictures is an easier way to do this. If you give an illustrator or editor a range of pictures, this will help, immensely. Most people don't have time to read the book or do some research. If you book takes place in Rome, find some pictures of Romans that you like. If you have a Templar in the book, find a picture. Samurai armor is all over the place, if you care, find a picture, don't expect the artist to have time to find your armor descriptions. You are the parent in any book project, don't act like everyone should bow down and read every word you wrote and read your mind. That's nice, but just not practical.


I enjoy referring to actors to demonstrate in my classes. They are also great references for doing art because you can find hundreds of photos of them. If you are a writer, try to envision an actor for the character you want to describe to the artist. It's a great shorthand for telling the artist the mood, personality and physical characteristics of your character.

This is Klaus Maria Brandauer, an actor with a German name. His heritage is what I call Ostragoth or a person from Middle Europe, Austrian, Czech, Hungarian, even Russian. He could be from the Baltic, but his people are not from that area because of his head type. Here are his salient features:

1. He has a broad head and a square face.
2. He has good bones and a cleft chin and a broad forehead.
3. He has arching eyebrows giving him an ironic look, and a long eye, meaning that the eyelid is hidden in a fold, almost Oriental, although this kind of eye is common all over Europe.
4. He has a sharp nose with an upturned tip. It is not an upturned nose, as you see from his profile.
5. He has a mouth with deep corners and well-defined lips, a smiling, small mouth.
6. His ears are unremarkable.
7. He has a square jaw and a pointed chin.
8. He has a receding hairline and thin, fine, flyaway hair.
9. Emotionally, he is wry, sarcastic, impish, friendly but a joker, extremely intelligent of the quick, wordy sort, a bit boyish, with a streak of cynical cleverness, maybe even cruel at times.
10. The parts he is chosen for are the intellectual villain, the cynical teacher, the failed lover.


This cartoon drawing of Leonard Nimoy lets you see right off how the barest deviance in the paradigm leads to cariacture. Nimoy, famous for playing Mr. Spock, has a short nose for his face. When an actor deviates this much from the paradigm, he or she usually ends up playing character parts and not the hero or heroine. Klaus above, has the "wrong" eyes, and Nimoy has the wrong nose.


Nimoy, despite his religion is not a Semetitic type but is a standard Atlantic type, seen anywhere from Wales to Spain. He is not a Mediterranean type or a Nordic type or a Central European type. He represents a type of face that was the first wave of people who came across Europe from the East replaced by the broad headed type that came later that was in turn replaced by another long-headed type. His facial type shows him to be of the most ancient European stock. Here is how to describe him.

1. He has a long head and a narrow face.
2. He has good bones, a round chin, and a normal forehead.
3. He has arching brows and a long, deep-set eye.
4. He has a long lip and a straight nose with narrow nostrils.
5. His mouth is unremarkable, but stoic (narrower lips).
6. His ears are unremarkable.
7. He has long cheeks and eyes set deep under his brow.
8. His hair is straight and unremarkable.
9. Emotionally, he is stoic, intense, clever but quiet, thoughtful but prone to outbursts of passion. He is uptight but witty and could be cynical or cruel. He is no where near as clever as Brandauer, but is also not jaded or deviant.
10. The parts he is chosen for are the intellectual villain, the dark lover, the reluctant hero.


Charleton Heston represents the old heroic type used in Hollwood. The new heroic type has a broader face and a stubbier nose. Heston is the standard Nordic type, seen on the Atlantic seaboard, but also edging the Baltic and North Seas. He is the third wave of European immigrant, the late long-headed type reprensented by the Celts, the Goths and the Vikings. With the exception of his mouth, he is the Anglo-Saxon stereotype. His mouth is from further East. With Nimoy's mouth, he would be the stereotype. With the Eastern mouth, he can play the lover for this mouth shows a lack of control of the emotions, unlike Nimoy's more stoic mouth. Here are his salient features:

1. He has a long face and a long head and is well-proportioned.
2. He has good bones and a square chin and a broad forehead.
3. He has a long eye under prominent, straight brows. He has intense, blue eyes.
4. He has an aquiline nose that is sharp, down tuned with flaring nostrils.
5. He has a full lips or pouty lips, or a passionate mouth (ROMANCE NOVEL!).
6. His ears are unremarkable.
7. He has a square jaw and a strong, square chin.
8. He has hair that waves off his brow.
9. Emotionally, he is cruel, passionate, idealistic, intense, capable without being intellectual, brutal without being animal-like (self-righteous) heroic, self-sacrificing and without humor.
10. The parts he is chosen for are the hero with a cause, the one admired, the leader, the king. He would never be cast as an extra or a character actor for his stage presence would demand center.


Sean Connery is a classic Atlantic type, like Nimoy. He might have been chosen to play James Bond because they wanted a lower class man who was not and Anglo-Saxon type. Connery is pure Celt without the Viking influence that would encourge the lighter hair, freckles and blue eyes we think of as Irish or Scottish. One of the stranger aspects of Connery's career is his decision to pluck his eyebrows, which you can see here. Part of what makes a person a great actor is the eyebrows because we show so much expression in them. As you can see, Connery's nose is just enough longer than Nimoy's to avoice the long lip. His forehead is also more prominent. In America, he would have played different parts than he did in England. After Bond, he could play anyone and thus changed some of the type casting. Here are his salient features:

1. He has a long face and a long head and is well-proportioned.
2. He has good bones and pointed chin and a broad forehead Classic diamond face.
3. He has a long eye under prominent, arching brows, called ironic or sarcastic. He has intense, black eyes.
4. He has the long Celt nose, down turned with flaring nostrils and an upturned tip.
5. He has the Celt curly mouth, called the sneering mouth, the bow-shaped mouth, the cruel mouth. Note how it dips down and then up again.
6. His ears are unremarkable.
7. He has deep dimples in his cheeks, almost slashed cheeks and a forceful, dimpled chin.
8. He has hair that waves off his brow, later receding hairline.
9. Emotionally, he is cruel, passionate, selfish, mocking, driven, self-centered, brutal, arrogant and vain. He would have never been cast as a hero in the States. He is classically bad news, especially for women, who he would use or abuse.
10. The parts he is chosen for (had he been American) would have been the bad lover, the ruthless villain without remorse or conscience, the driven machine man, the abusive egotist.


Leonardo DiCaprio represents the modern Hollywood hero paradigm. Hollywood has been influenced by television, where the long-headed type was too aristrocratic and the paradigm was the boy next door who had a more moderate head type. Notice, too, that the eye is not a long, the brows are farther apart, and the nose is shorter. He was chosen for a heart-throb part largely due to his eyes, which the blue ringed with dark are exceptionally clear and innocent. Here are his salient features:

1. He has a moderate facial type, the classic "heart" face.
2. He has good bones and pointed chin and a broad forehead.
3. He has soft, clear eyes under level brows.
4. He has and unremarkable nose, the but you could call it boyish.
5. He has a slightly pouty mouth, well shaped.
6. His ears are unremarkable.
7. He has dimples in his cheeks and chin and a heart-shaped face.
8. He has blond, straight hair, a bit tossled or swept off his brow and a slight widow's peak.
9. Emotionally, he looks innocent and boyish, charming and sweet without being weak. He looks like Huck Finn enough to be the boy next door, but also devoted, loyal and earnest rather than tricky or moody. He does look prone to sadness and needy. He looks like he loves to laugh, but tends to be too interested in pleasing to be happy-go-lucky. He looks like he cares.
10. The parts he is chosen for should be the boy hero, the boy gone wrong with the heart of gold who is led back to the right path, the modern hero (needs helpers, not a loner) the team inspiration.


Anyone who thinks that skin color makes a person ethnic is living in the past. Denzel Washington is a typical example of the same features generally approved by Hollywood paradigms translated into a mild African look. He still has the long head, unremarkable nose, well shaped mouth, and long eye under the prominet brow. Washington is about a normal as you can look and still play heroic parts in Hollywood.


Whereas Lawrence Fishburne has a look unique enough to force him into more character parts rather than anything heroic. He also has much more stereotypical West African features than Washington, but again, heavily influenced by an Atlantic look. He could pass as Algerian or Moroccan, and certainly Igbo or Yoruban. Fishburne has some features common in Europe as well. He also has extremely light and well-defined eyebrows for a man and pulls it off only because he is so heavy in the jaw. Here are his salient features:

1. He has a moderate facial type, the classic "bucket" face.
2. He has good bones a heavy brow, and a heavy jaw.
3. He has arching, thin brows over normal eyes. His iris floats high enough in the eye to indicate a melancholic temperament.
4. He has an unremarkable nose, straight, well formed, a bit of flaring nostrils.
5. His most abnormal feature is his short lip over his splayed teeth. Many Europeans have this short lip, either with a long nose, or like Fishburn because the entire mouth is set high in the face, making the chin look longer. This is considered heroic, but also indicative of gluttony.
6. His ears are unremarkable.
7. His jaw is very heavy, making him look less intellectual, but his gaze contradicts this, giving him the look of both a bully and a rebel.
8. He also had, when young, a very straight hairline and a wide, low brow. He looked more intellectual when bald, and now with a receding hairline.
9. Emotionally, he looks like trouble. He looks moody and hot-headed, impulsive and leaping and feeling bad about it later. He looks very stubborn, but also full of loud laughter when moved. He looks thoughtful, but also brooding and not easy in himself. It would be a mistake to think him brutal; he does not have the eyes for it. The jaw just indicates a tendency to block action and die trying rather than a bully or a brute.
10. The parts he is chosen for would be the outsider who comes up from behind, not to win, but to die trying. He would not play the lover, but the fighter, the rebel, the man with a mission, the heavyweight who gives his life for the cause.


Levar Burton is more typical of people from Equitorial and Eastern Africa, Ghana to Ethiopia, Bantu, Zulu, he is very typical of many Africans. His features are not usually found in Europeans, although he follows the human paradigm cloely enough to play heroic parts in the movies. He has many characteristics in common with Leonardo DiCaprio. Here are his salient features:

1. He has a broad head type, with a heart-shaped face.
2. He has good bones a heavy brow, a square jaw with a pointed chin.
3. He has short eyebrows over prominent eyes that are wide-set and sparkling.
4. He has a flat, wide nose with high cut nostrils.
5. His mouth is large, but well proportioned and he smiles even when he is still.
6. His ears are unremarkable.
7. He has a sincere, open look, exaggerated by his wide-set eyes, and looks like he enjoys life and having a good time. He looks open and friendly.
8. His eyes tend to be heavily circled in some light, with heavy pockets that give him a smiling look.
9. Emotionally, he looks like a friend. He looks young at heart, but maybe young in sprit, enthusiastic but also a bit headstrong. He has an open look that makes you want to trust him. He looks like someone next door that you would want to hire or be friends with. He looks loyal and bright.
10. The parts he is chosen for would be the hero's helper, possibly a hero, but a friend, not a lover. He would not be a fighter, but would want to help a cause and get everyone to work togehter to make the world a better place.


Audrey Hepburn is my first example of a completely different paradigm for women. Although many women fit the generic paradigm: Grace Kelly, Elizabeth Taylor and Igmar Bergman, Audrey Hepburn sets a different standard for women who deviate from the norm in interesting (beautiful) ways. Many classical beauties such as Sophia Loren and Audrey Hepburn deviate quite a bit from the norm. Audrey is different in a way that made her an "elvin" paradigm. Her are ways to describe her:

1. Like almost all beauties, she is mesocephalic, or a normal head type. Do not use long face or broad face to describe women.
2. She has prominent cheekbones and a wide brow and a dainty chin.
3. She has heavy, arched brows, that are shaped like raven's wings. She has very heavy lidded eyes, deep set, slightly tilted, but unhappy. (Note the floating iris.)
4. She has a very long nose with a marked septum, which is called high-cut nostrils.
5. She has a short lip, rose lips, and an enchanting smile (lights up face, changing it.)
6. His ears are unremarkable.
7. He has a sincere, open look, exaggerated by his wide-set eyes, and looks like he enjoys life and having a good time. He looks open and friendly.
8. Because her eyes are so large, you do not notice how large the nose is. But in her young picture, you can see that the plucked brows and the lighter eye color make the nose suddenly jump out.
9. Emotionally, she looks frightened, defensive, moody and otherworldly. She looks frail and in need of help. She looks like she suffers from depression and indulges in some kind of gluttonous behavior (not discerning.) She looks friendly, but hurt.
10. The parts she would play would be the heroine who needs help, the woman who is her own worst enemy, the elvin companion who attracts trouble. She would not play the ruling queen, but the lost queen, despairing and alone.

© 2018, A.R. Stone