The drawings on these two pages seem like a sequence with the last picture missing—the one where she bursts into tears. Unlike the neutral face above, we tend to see the face with so much activity (opposite) as leading up to something. In the final stage, the weeping face, the eyes will tightly shut.
Sad eyes look out at the world through partly shuttered lids. The orbicularis oculi is partially contracted,
creating crow's feet, raised lower lids (compare sad iris shape with that of relaxed eye above), and fold under the eye. Above the eye, the-drag of skin upward and toward the middle creates a new skin fold (1), cutting across the upper lid. It hides part of the lid and pushes downward on it, narrowing the eye from above.
The basic sad eye pattern is oblique; brows, upper lid fold, slant at similar angles. Frontalis (green) is under entire forehead, but only central fibers (darkest tone) contract in sadness. At no other time does its central part contract alone.
SADNESS: ON THE VERGE OF TEARS
The mouth is the most transitional element. If it was fully stretched, as in crying, the lips would be thinner and more uniform. In simple sadness, the mouth is not stretched at all. Mentalis and triangularis are active, as is the sneering muscle. The "sneer" element here is strong; the nose is lifted up by the wings, the crease by the nose is deep. Note also the puffing of the cheeks. Vertical line indicates how relationship of eye to mouth corner changes as mouth widens.
A. Balled up chin, crease above due to mentalis
B. Squared upper lip
C. Deep nasolabial fold
D. Wrinkles, down corner of triangularis
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