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And it's a face that, along with Tintin's asexuality and lack of a family, makes him into a marvelous blank, an avatar for armchair adventurers.
It's a face, inevitably, with its own Twitter account, @CarasBogEye.
Her support for her brother in the important 1989 documentary "James Baldwin: The Price of the Ticket" is seen in her face; it's a face that can hold the screen, especially when she describes Baldwin's great generosity of spirit.
"It's a face from a different era," Mr. Rush said.
It's a face with nothing to fear but fear itself.
It's a face that repels examination; his Turner wants to see, not be seen — or heard.
Grimacing and glowering, it's a face that induced déjà vu: where had I seen that mug, and those mandibles, before?
It's a face everyone knows, the distinctive mug belonging to Mark Messier.
It's a face that repels examination; his Turner wants to see, not be seen or heard.
It's a face that's initially difficult to reconcile with the priestly white collar and black cassock that complete the portrait.
The other way, it's a face that is sharply shaped, a tangible object, but shaped like a living creature, held and encased within a hard carapace.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com