On crossing the imaginary line drawn from Punta Mala to Azuera the ships from Europe bound to Sulaco lose at once the strong breezes of the ocean. They become the prey of capricious airs that play with them for thirty hours at a stretch sometimes. Before them the head of the calm gulf is filled on most days of the year by a great body of motionless and opaque clouds. On the rare clear mornings another shadow is cast upon the sweep of the gulf.

The dawn breaks high behind the towering and serrated wall of the Cordillera, a clear-cut vision of dark peaks rearing their steep slopes on a lofty pedestal of forest rising from the very edge of the shore. Amongst them the white head of Higuerota rises majestically upon the blue. Bare clusters of enormous rocks sprinkle with tiny black dots the smooth dome of snow.

When we see a face, we are automatically triggered to feel something or to empathize with that person. If we recognize content on a website — such as a problem, dilemma, habit or whatever else — we feel connected and understood.

Since we know ourselves so well, we unconsciously try to relate everything we see to ourselves. Obviously, we do that with other human faces, but also with when there are no human features involved. Only the recognition of our body’s proportions in a design is enough for us to perceive the design as being familiar and harmonic.

This is the reasoning behind headless mannequins. We subconsciously take what is on display and substitute ourselves for the mannequin due to the lack of ‘human’ in the image.
So faces add a human touch to your website – they help you trigger your emotions, which make them a powerful design element. Here are 10 effects human faces can have on your visitors.

When we see a face, we are automatically triggered to feel something or to empathize with that person. If we recognize content on a website — such as a problem, dilemma, habit or whatever else — we feel connected and understood.

Since we know ourselves so well, we unconsciously try to relate everything we see to ourselves. Obviously, we do that with other human faces, but also with when there are no human features involved. Only the recognition of our body’s proportions in a design is enough for us to perceive the design as being familiar and harmonic.

This is the reasoning behind headless mannequins. We subconsciously take what is on display and substitute ourselves for the mannequin due to the lack of ‘human’ in the image.
So faces add a human touch to your website – they help you trigger your emotions, which make them a powerful design element. Here are 10 effects human faces can have on your visitors.

Giorgio! thou passionate man! Misericordia Divina! In the sun like this! He will make himself ill.

Then Signora Teresa, all in black, issuing from another door, advanced, portly and anxious, inclining her fine, black-browed head, opening her arms, and crying in a profound tone — “Giorgio! thou passionate man! Misericordia Divina! In the sun like this! He will make himself ill.” At her feet the hens made off in all directions, with immense strides; if there were any engineers from up the line staying in Sulaco, a young English face or two would appear at the billiard-room occupying one end of the house; but at the other end, in the cafe, Luis, the mulatto, took good care not to show himself. The Indian girls, with hair like flowing black manes, and dressed only in a shift and short petticoat, stared dully from under the square-cut fringes on their foreheads; the noisy frizzling of fat had stopped, the fumes floated upwards in sunshine, a strong smell of burnt onions hung in the drowsy heat, enveloping the house; and the eye lost itself in a vast flat expanse of grass to the west, as if the plain between the Sierra overtopping Sulaco and the coast range away there towards Esmeralda had been as big as half the world.

Signora Teresa, after an impressive pause, remonstrated — “Eh, Giorgio! Leave Cavour alone and take care of yourself now we are lost in this country all alone with the two children, because you cannot live under a king.”

Eh, Giorgio! Leave Cavour alone and take care of yourself now we are lost in this country all alone with the two children, because you cannot live under a king.

And while she looked at him she would sometimes put her hand hastily to her side with a short twitch of her fine lips and a knitting of her black, straight eyebrows like a flicker of angry pain or an angry thought on her handsome, regular features.
It was pain; she suppressed the twinge. It had come to her first a few years after they had left Italy to emigrate to America and settle at last in Sulaco after wandering from town to town, trying shopkeeping in a small way here and there; and once an organized enterprise of fishing—in Maldonado—for Giorgio, like the great Garibaldi, had been a sailor in his time.
Sometimes she had no patience with pain. For years its gnawing had been part of the landscape embracing the glitter of the harbour under the wooded spurs of the range; and the sunshine itself was heavy and dull—heavy with pain—not like the sunshine of her girlhood, in which middle-aged Giorgio had wooed her gravely and passionately on the shores of the gulf of Spezzia.

You go in at once, Giorgio

“You go in at once, Giorgio,” she directed. “One would think you do not wish to have any pity on me—with four Signori Inglesi staying in the house.” “Va bene, va bene,” Giorgio would mutter. He obeyed. The Signori Inglesi would require their midday meal presently. He had been one of the immortal and invincible band of liberators who had made the mercenaries of tyranny fly like chaff before a hurricane, “un uragano terribile.” But that was before he was married and had children; and before tyranny had reared its head again amongst the traitors who had imprisoned Garibaldi, his hero.
There were three doors in the front of the house, and each afternoon the Garibaldino could be seen at one or another of them with his big bush of white hair, his arms folded, his legs crossed, leaning back his leonine head against the side, and looking up the wooded slopes of the foothills at the snowy dome of Higuerota. The front of his house threw off a black long rectangle of shade, broadening slowly over the soft ox-cart track. Through the gaps, chopped out in the oleander hedges, the harbour branch railway, laid out temporarily on the level of the plain, curved away its shining parallel ribbons on a belt of scorched and withered grass within sixty yards of the end of the house. In the evening the empty material trains of flat cars circled round the dark green grove of Sulaco, and ran, undulating slightly with white jets of steam, over the plain towards the Casa Viola, on their way to the railway yards by the harbour. The Italian drivers saluted him from the foot-plate with raised hand, while the negro brakesmen sat carelessly on the brakes, looking straight forward, with the rims of their big hats flapping in the wind. In return Giorgio would give a slight sideways jerk of the head, without unfolding his arms.