Facial harmony is often mentioned as how well each feature pairs with one another, and the very flawed “golden ratio,” which is a morph of all the most popular faces in Western media combined. While we do use a morph of different faces of men combined to find the averages of certain phenotypes, there are obvious unideal measurements that the golden ratio considers ideal and harmonious due to the popular faces having that measurement. However, there is actually a way to tell if each feature is in the right place to begin with, by doing an eye test of viewing which ratio makes a certain feature seem too tall or wide, and assessing if it is possible to be naturally obtained for that certain phenotype. Harmony is decided by mathematically measuring each feature and making a deviation to a certain extent from a “Tier 1 flaw,” meaning something is very far from the ideal (a really far eye spacing), a “Tier 2 flaw,” meaning something is moderately unideal (a slightly too tall jaw), and a “Tier 3 flaw,” something is barely unideal (a slightly obtuse jaw frontal angle). The total score, depending on whether something is not in the ideal range, is then calculated and a total harmony score is then made. Every single phenotype has a different harmony ideal in certain aspects, such as the ideal mouth-to-nose ratio for Black men being wider, and the chin-to-philtrum ideal for Slavic men being taller. Harmony is the most important but not the only thing that determines how attractive a face is, as it is the base of what the initial score is or what potential it has non-surgically. However, there are still unconventionally attractive faces, meaning they have strong miscellaneous features and angularity, although having lower harmony, as facial harmony only contributes to 30% of the overall aesthetic of the face. Facial harmony is usually unable to be drastically changed without surgery, although there are small changes that can be made, such as jaw width, neck width, hairline shape and height, and eyebrow height, spacing, setting, and tilt.
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RATIO | THE IDEAL | EXAMPLE WITH PPL OF SAID RATIO |
FWHR: diffrence of how much wider than taller the inner face is | 1.86-2.02 /1.88-2.04 | Hernan Drago |
TFWHR: diffrence of how much taller than wide the face from the most prominent point of the cheekbone with relativity from the hairline to the bottom of the chin | 1.33-1.38 for dimorphism faces >1.34 are more masculinizing | James Marsden |
FACIAL THIRDS: upper third from the hairline to the glabella, middle third from glabella to base of the nose, lower third from alae base to the bottom of the chin | upper third: 30%-33% middle third: 31%-33% lower third; 34%-37% for dimorphism 35%+ lower third | Cameron Alborznian |
ESR: eye distance relative to the face width | 43.40-47.30 for dimorphism <46 | Chico Lachowski |
INNER CANTHAL DISTANCE: eye width in relativity to eye distance | .83-96 for dimorphism 1.02 | Brad Pitt |
JFA: highlighting how flat or steep the lower jaw is from the chin corners to the lower jaw corners | 84-95 for dimorphism a wide tall chin is masculinizing | Tyson Ballou |
IAA: highlighting how steep or wide the ineer face is from the nose base to the eye corners | 84-95 | Tom Holland |
IAA and JFA DEVIATION: highlights how aligned the 2 ratios arev | 0-2.5 | Zario |
CHIN TO PHILTRUM: chin height relative to the philtrum | 2.05-2.55 for dimorphism a tall chin like 2.75 | Colton Haynes |
LIP PORPORTION: highlights how much the lowerr lip in relaativity to the upper lip | 1.3-1.9 for dimorphism >1.40 is masculinizing | Chico Lachowski |
EYEBROW SETTING: highlights how high or low set the yebrows are | 89%-97% for dimosrphism >92% is masculinizing (anything above 97 is uncanny) | Chiken Alfreddo |
CHEEKBONE SETDNESS: highlights how high set the cheekbones are | <80% | Brad Pitt |
BIGONIAL WIDTH: highlights how wide or narrow the lower jaw in relative to he cheekbones | 85%-92% for dimorphism >87 | Henry Cavill |
MIDFACE RATIO: highlights how short or long the midface is | .93-1.02 | Alain Delon |
LOWER THIRD PROPORTION : highlights how high or low the mouth sits on the jaw | 30-34 for dimorphism <33% | Henry Cavill |
EYE ASPECT RATIO: higghlight how flat or rounded the eye shape is from the eye width to eye height | 2.8-3.6 for dimorphism <3.20 flatter eyes are masculinizing | Timothy Chalamet |
CANTHAL TILT: highlights how upturned or downturned the eyes are from the medial canthus | 5-8 for dimorpshim <7.50 is masculinizing | Henry Cavill |
EYE BROW TILT: highlights how up or downturned the from the brow head relative to the brow peak | 5-12.5 for dimorphism <10 is mascculinizing | Alain Delon |
BITEMPORAL WIDTH: highlights the hairline width in relative cheekbones | .84-.95 for dimosphism >87 is masculinizing | Jon Hexum |
MOUTH TO NOSE: highlights the mouth width in relative to the nose | 1.50-1.60 for dimorphism <1.50 is masculinizing | Sean O'Pry |
NECK TO JAW: highlights how wide the neck is in relative to the jaw | .90-1.00 for dimorphism >.92 is masculinizing | Henry Cavill |
Miscellaneous features are another one of the most important aspects of determining how aesthetic a face is, as it contributes to 30% of the overall rating, measuring all of the features of the face that are not affected by proportions or ratios, and making a deviation from the total score depending on how many factors of it are in the ideal range. Miscellaneous features consist of skin quality, skin wrinkling, eye size, eye color, upper eyelid visibility, lower eyelid curvature, eyelid darkening, under-eye hollowing, eyebrow density, eyebrow vertical height, eyebrow lateral width, eyebrow tailing, eyelash length, eyelash density, medial canthus depth, nasal definition, nasal tip bulbosity, nostril visibility, nasal dorsum shape, nasal radix shape, alar base width relative to nose width, lip size, lip fullness, lip hydration, lip color, lip definition, vermillion border definition, labial commissure positioning, philtral column definition, hair density, hairline shape, hairline recession, ear protrusion, ear shape, chin shape, and all soft tissue and skeletal influenced asymmetry.
MISC FEAT | IDEAL | PPL WITH SAID FEATURE |
IRIS COLOR | light Iris | Vitto Basso |
EYELASH LENTGH | long dense eyebrows | Justin Bieber |
EYEBROW THICKNESS/VERTICAL LENTGH | masculinized brow height, as tall brows are a sexually dimorphic trait | Rodrigo Guirao |
EYEBROW LENTGH | lateral length surpassing the medial canthus | Rodrigo Guirao |
EYEBROW DENSITY FULLNESS | dense with no patching | Rodrigo Guirao |
EYEBROW COLOR | dark color | Ian Somerhalder |
EYEBROW SHAPE | straight brow shape | Rodrigo Guirao |
UPPER EYELID EXPOSURE | hooded upper eyelids | Sean O'Pry |
SCLERAL SHOW | straight lower eyelid | Sean O'Pry |
AEGYO SAL | prominent under eye fat volume | Chico lachowski |
MEDIAL CANTHUS | long and downturned | Andreas Ericksen |
TEAR THROUGHS | no under eye hollowing | Chico lachowski |
SCLERAL TRIANGLES | symmetrical scleral triangles | Rafa Noah |
PFL | wide masculinizing width | Devon Broughton |
SYMMETRY | 90%+ symmetrical face | Chico lachowski |
HAIRLINE SHAPE | straight and wide | Jon Hexum |
FLARED EARS | fully pinned back | Rodrigo Guirao |
COLORING | contrast via eye color, white sclera, dark hair/eyebrow/eyelash, white teeth, tan skin with pinkish undertones, pink lips | Chicken Alfredo |
SKIN CLARITY | no discoloration, dark spots or dehydration | Devon Broughton |
WRINKLES | no wrinkles | Devon Broughton |
SKIN TANING | vibrant masculinizing tan | Sean O'Pry |
TOOTH SHADE | white | brad Pitt |
TOOTH STRAITGHNESS | straight | Rodrigo Guirao |
TOOTH SHOW | 10+ teeth show | Rodrigo Guirao |
LIP COLOR | pinkish lips | Cameron Alborznian |
MOUTH WIDTH | 40-50% to bigonial | Rodrigo Guirao |
MOUTH SHAPE | defined full lips with masculinized via lip comissure, lip seal, cupids bow, lip porportion, lip width, lip vermillion border, | Rodrigo Guirao |
LABIAL COMISSURE | positive labial comissure | Rodrigo Guirao |
NASAL TIP BULBOSITY | slin nose tip | Elias Depot |
NOSTRIL SHOWING | no nostril showing | Elias Depot |
NASAL DORSUM | straight with no dorsum hump | Elias Depot |
NASSAL CONTOURING | slim and defined nasal bridge | Sean O'Pry |
RADIX FORMATION | projected | Devon Broughton |
(The appearance of how masculine or feminine a man's face is, as the most important metric of the face is facial harmony, facial dimorphism is quite important as it contributes to 20% of the overall rating. For example, if a man's eyes are objectively too rounded, it will be a harmony deviation as it is a feminizing trait. Yet eyes that are too flat are objectively unaesthetic but still create a masculinizing appearance. And that is where the importance of dimorphism is played, as a man who looks more masculine with the same amount of harmony as a man who does not will always be objectively more aesthetic.
Studies have also shown that women prefer more sexually dimorphic faces; others show that more sexually dimorphic faces are perceived as more confident, physically stronger, socially mature, and they are chosen by groups as leaders more often.
Men's sexual dimorphism consists of skull size, facial width-to-height, total face shape, jaw width, chin and philtrum height in comparison, chin projection, chin robustness, neck width, facial thirds, jaw frontal angle, mouth-to-nose width comparison, nasal projection, eyebrow low-settledness, eyebrow spacing, eyebrow tilt, eyebrow density, eyebrow thickness, medial canthus depth, eye aspect width-to-height, inner pupillary distance, inner canthal distance, upper eyelid hooding, lower eyelid strength, orbital depth, brow bone prominence, gonial angle, mandibular plane angle, ramus-to-mandible length comparison, antegonial notch, facial depth, lip color, jaw leanness, and facial convexity.)
Studies have also shown that women prefer more sexually dimorphic faces; others show that more sexually dimorphic faces are perceived as more confident, physically stronger, socially mature, and they are chosen by groups as leaders more often.
Men's sexual dimorphism consists of skull size, facial width-to-height, total face shape, jaw width, chin and philtrum height in comparison, chin projection, chin robustness, neck width, facial thirds, jaw frontal angle, mouth-to-nose width comparison, nasal projection, eyebrow low-settledness, eyebrow spacing, eyebrow tilt, eyebrow density, eyebrow thickness, medial canthus depth, eye aspect width-to-height, inner pupillary distance, inner canthal distance, upper eyelid hooding, lower eyelid strength, orbital depth, brow bone prominence, gonial angle, mandibular plane angle, ramus-to-mandible length comparison, antegonial notch, facial depth, lip color, jaw leanness, and facial convexity.)
JAW MASS | wide jaw via gonion shape | Jon Hexum |
CHIN SHAPE | wide squared | Jordan Barett |
FACIAL DEPTH | ideal projected profile | Hernan Drago |
SKULL SIZE | tall and wide (24cm tall 16 wide) | Jason Momoa |
FACIAL ROBUSTNESS | robust and masculine face via brow bossing, skull width, supra orbital contour, chin mass, temporal width, cheekbone prominence, zygomatic prominence, gonion shape and neck width | Hernan Drago |
SUPRA ORBITAL CONTOUR | fully hooded orbits | Sean O'Pry |
BROW BOSSING | robust brow ridge | Ian Somerhalder |
CHIN PROJECTION | chin projected past the browridge | Devon Broughton |
MANDIBLE BODY LENTGH | long mandible | Hernan Drago |
Facial angularity is another important factor in determining male attractiveness. While it also contributes to how dimorphic a face is, it is also so important it has to be individually separated on its own. Facial angularity is the overall body fat indicator of the face, which is one of the most important assessments behind facial harmony, as it contributes to 20% of the overall rating. Facial angularity consists of the overall facial fat visibility, cheekbone prominence, ogee curve depth, cheek fat hollowing, zygomatic bone size, chin robusticity, gonion shape, and submental fat visibility.
CHEEK LEANESS | lean and hollowed cheek | Jon Katajanera |
CHEEKBONE PROMINENCE | wide prominent zygomatic shape | Jon Katajanera |
SUBMENTAL LEANESS | lean and tight submental region | Jordan Barett |
GONION SHAPE | wide flared gonions | Robert Pattinson |
JAWLINE VISIBILITY | defined ramus and mandibular body visibility | Jordan Barett |
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