Facial Workout Brochure

漏 2008 WALA Heilmittel GmbH, 73085 Bad Boll 路 102 512 199 / W804909

Skin Care

manufactured by: WALA Heilmittel GmbH 73085 Bad Boll GERMANY Phone +49 (0) 7164 930-181 Fax +49 (0) 7164 930-297 www.dr.hauschka.de info@dr.hauschka.de

Skin Care

Facial Workout Brochure

D r. H a u s c h k a S k i n C a r e

Contents 1.

Foreword _____________________________________________________ 2

2.

Instroduction __________________________________________________ 3

3.

Posture, Facial Expression and Physiognomy – An Anthropological Examination Based on Anthroposophic Principles ______________________ 4

4.

Eurythmic Vowel Gestures and Your Inner Thoughts and Feelings __________ 6

5.

Anatomy of the Facial Muscles ____________________________________ 8

6.

How to Do the Exercises _________________________________________ 10

7.

Dr.Hauschka Facial Workout ______________________________________ 11 ____ Shaping the Forehead, Part 1 _____________________________________ 12 ____ Shaping the Forehead, Part 2 _____________________________________ 14 ____ Shaping the Area around the Eyes, Part 1 ___________________________ 15 ____ Shaping the Area around the Eyes, Part 2 ___________________________ 17 ____ Shaping the Middle of the Face Area, Part 1 _________________________ 19 ____ Shaping the Middle of the Face Area, Part 2 _________________________ 20 ____ Shaping the Middle of the Face Area, Part 3 _________________________ 21 ____ Shaping the Mouth and Chin, Part 1 _______________________________ 22 ____ Shaping the Mouth and Chin, Part 2 _______________________________ 23 ____ Shaping the Mouth and Chin, Part 3 _______________________________ 24 ____ Shaping the Side Profile of the Cheeks ______________________________ 25 ____ Shaping the Floor of the Mouth and the Neck, Part 1 __________________ 26 ____ Shaping the Floor of the Mouth and the Neck, Part 2 __________________ 27 ____ Shaping the Front Area of the Throat (the Neck Muscles) _______________ 28 ____ Shaping the Lateral Throat and Neck Area ___________________________ 29

1

F A C I A L W O R KO U T

D r. H a u s c h k a S k i n C a r e

1. Foreword

D r. H a u s c h k a S k i n C a r e

2. Introduction

Dr. Rudolf Drobil`s Facial Workout After I contacted Dr. Drobil in the 1970s, we met in Vienna where he agreed to include ‚his facial workout‘¹ in my cosmetic programme. This facial workout is based on ‚muscle exercise‘ and ‚muscle relaxation‘. Not only it prevents sagging of the face and the neck muscles, but also it reduces any muscle weakness which might already have occurred.

ter ‚On Beauty and Art‘: ‚Man is a being who is himself the cause, the absolute cause, of his own conditions and who can change himself for reasons he also derives from within himself, the tenor of his feeling and will; thus, conditions which not nature but he himself, in his freedom, determines.‘

We ‚exert‘ our facial muscles daily, and not only when we talk. A slight interplay of our facial muscles also reflects our thoughts. Thus, our expression changes depending on whether our thoughts are positive or negative.

Let us internalise what Schiller says in his work Schriften zur Ästhetik² in the chap-

¹

²

A radiant complexion does not only depend on the external application of skin care products. Such a complexion demands the active involvement of the individual as well as his/her skin. This is the basic concept behind the Dr.Hauschka Skin Care products: to stimulate the intrinsic activity of the skin while respecting physiological rhythms. There is a direct connection between this concept, tips for a healthy lifestyle, the Dr.Hauschka cosmetic treatment and the facial workout presented here.

In combination with proper skin care, a regular, careful exercise supports the facial muscles and helps counteract or even prevent age-related loss of tone and premature wrinkles. ‚Nowhere else does the character of a person manifest itself as clearly as in his/ her face. It shines through the individual hue of the skin and the light of the eyes, it resounds in the timbre of the voice (personare = the inner sound of an individual through the voice), and it realizes itself through the unique muscular unit which is composed by the mimic muscles and the skin.‘³

Elisabeth Sigmund, January 2003

³ Lothar Vogel. Der Dreigliedrige Mensch. 3rd Edition.

Dornach: Philosophischer-Anthroposophischer Verlag am Goetheanum 1992.

Rudolf Drobil. Gesichts-Gymnastik. 2nd Edition, Vienna: Wilhelm Maudrich Verlag 1972 (out of print): Friedrich Schiller. Über das Schöne und die Kunst.

Munich: Deutscher Taschenbuch Verlag 1984., ad-hoc translation

F A C I A L W O R KO U T

2

3

F A C I A L W O R KO U T

In the delicate facial expression of an individual we recognize the manifestation of joy and sadness, astonishment, laughter and crying, pain and anger - emotional reactions which convey subtly to the outer world making the inner feelings visible through the shape of the mimic muscles.

In addition to the general improvement of the skin tone, facial exercises are another way of combating traces left by deepthinking which, for example, manifest themselves as furrows between the eyebrows. Regular exercising can smooth these lines. The exercises strengthen and vitalise the tissue of the skin, stimulate the blood circulation and activate the skin‘s intrinsic powers.

The determination to contribute actively to this process by combining the Dr.Hauschka Cosmetic Treatment and the careful selection of the appropriate Dr.Hauschka Skin Care products, leads to an inner and outer harmony and beauty.

Ute Wyland

D r. H a u s c h k a S k i n C a r e

3. Posture, Facial Expression and Physiognomy – Anthropological Examination Based on Anthroposophic Principles When crossing with another person we care that our being is perceived. By attentively noticing the person’s position of the head, eyes and expression, we are able to perceive his/her interest. Unlike animals, the human face is an expression of the soul and the mind.

The slightest nuance of movement, even the way we carry our head, the raising or lowering of our forehead, or the gentle tilting of our head to one side, are significant expression of our character, soul attitude, self confidence and inner collectedness.

The posture of our head and the direction of our glance form the basis of those movements which reflect our emotional (of the soul) and mental (of the mind) activities and the deep sensation of our will.

These movements are visible in our face in form of mimical expression.

All in all, this is already cleverly integrated in the gestures of our limbs, in our stride, in our stance and in the gesticulation of our hands. However, it is in the facial expression that the human being subtly reveals his/her inner self. This free play of muscles may be strong or as gentle as a ray of light, or a shadow flitting across the face. It may even dig itself deeper and deeper into the physiognomy, gradually determining the permanent cast of our features.

D r. H a u s c h k a S k i n C a r e

Spiritual experience is most immediately visible in the area of the forehead and the upper eye region (nerve-sense system).

Emotional experience is apparent predominantly in the middle of the face: in the area of the eyes, nose and mouth (rhythmic system). The force of will is mainly ex-

The movement, transformed into a fixed expression becomes revealing almost like a storyteller. It seems that the story it narrates is significantly magnified and emphasised by the expression of the soul behind it.

The mouth is particularly expressive; on the one hand when eating, it reacts to tastes – sweet, salty, sour, and bitter, and on the other, when speaking or expressing one’s will. Thus, the human face reveals a multitude of emotional responses like joy, sadness, laughter, crying, horror, terror, pain and anger. Likewise, almost through a spiritual affinity, can the eyes radiate expression of amazement, clarity and love.

N er v e - s en s e s y s tem

Rhy t hmic s y s tem

M

It is nearly impossible to classify the nuances in the limitless number of expressions the eyes can convey. The direction of the glance alone, even when the head is still can be unimaginably expressive. The purest encounters between individuals, from Ego to Ego, occur in the exchange of glances.

F A C I A L W O R KO U T

ab o

li c - lim b s y s

te

humanity. However, if the cast of features – the system of subtle free play of muscles – becomes a set physiognomy, it reduces to a stereotype. A touch of an animal-like resemblance appears in the human face recalling a sheep, a fox, or a bird. The face extinguishes its features becoming a masklike grimace. Wrinkles are engraved and we are “marked for life”. The mind of a person risks “becoming rigid” if his/her force of will is not transformed into a spiritual and emotional frame of mind.

These muscles move in a flowing manner.

There is no origin or insertion, no joints: all is integrated and the innermost (naturesoul) is externalised in a seamlessly smooth, conforming motion. Throughout a flowing freedom of movement of the muscles it is possible for the self to become its own sculptor. This information process within the physical body takes place anew every moment, so that the most perfect shaping process imaginable forms the human countenance with a dynamic freedom of movement and development. The facial expression - mimesis – reflects and imitates the own inner concept of the self.4 Ute Wyland

The Threefold Organisation of the Human Face

Thus the human face is remarkably, an ‚image of our soul‘ – of our own self. It innately expresses the spirit of freedom, communicating through facial expression or gesture in which the soul process is visible.

et

m

pressed by the region of the mouth, chin and lower jaw (metabolic-limb system). As long as a person succeeds in maintaining the spiritual and emotional balance between these areas, his/her face retains its

4

5

F A C I A L W O R KO U T

4

This text owes much to Der Dreigliedrige Mensch

by Lothar Vogel. 3rd Edition.

Dornach: Philosophischer-Anthroposophischer Verlag am Goetheanum 1992.

D r. H a u s c h k a S k i n C a r e

D r. H a u s c h k a S k i n C a r e

4. Eurythmic Vowel Gestures and Your Inner Thoughts and Feeling An individual‘s thoughts and feelings express themselves not only in his or her facial expression, but also in his/her posture, his/her gestures and gesticulations.

The art of eurythmy exploits our human ability to express ourselves, through gesticulation, as individuals with an inner soul activity, by forming vocal sounds into specific body movements. It enables us to experience ‚body language‘ directly and makes it accessible to conscious structuring through the specific gesticulations.

Out of all eurythmic gestures it is the vowel gestures that can be performed as part of a cosmetic programme. The vowel gestures5 give expression to a person‘s emotional life.

The ,A’ gesture An inner attitude of unprejudiced openness towards the world and other people is demonstrated by this gesture which is performed using both arms. The arms open wide at an angle. This is the ‚A‘ gesture. It is similar to the gesture we use when we approach someone joyfully. The gesture of openness counteracts rigid attitudes and a strong tendency to brood.

The ,E’ gesture

The ,O’ gesture

The everyday stance in which a person encounters another with arms folded is modified slightly in the eurythmic ‚E‘ gesture, which is also performed using a crossed-arm movement. Practising this ‚E‘ gesture teaches perception of a conscious physical experience of oneself. It strengthens the ability to keep oneself aligned and forms boundaries between oneself and the outside world. Being more at peace with oneself leads to serenity and protects against anxiety and the tendency to tense up.

The eurythmic ‚O‘ gesture, in which the arms form a round circle, makes it possible to experience an inner space that can be open and yet at the same time respects personal boundaries. The soft, flowing movement, which concludes in a gesture which holds the shape of the ‚O‘, embraces two opposing qualities – the flowing motion and the still form. This exercise supports the rhythmic processes in the organism and offsets tendencies towards physical and emotional dissolution and hardening.

The ,I’ gesture

The ,U’ gesture

An essential characteristic of the ‚I‘ gesture is the upright figure which inhabits its space confidently. This basic position is accompanied by a liberating diagonal stretching gesture of both arms away from the body (right arm stretches forward and upward, left arm backward and downward).

The still center of balance should be found in middle of the ‚I‘ gesture, at about the level of the sternum. The ‚I‘ gesture practises the ability to create an inner central focus, to stand up for oneself in accordance with one‘s own character and to take one‘s place in the world.

The ‚U‘ gesture is a rather slow gesture which masters the dynamics of motion.

The parallel outstretched arms are brought together in such a way that at the end the position can be held and a tranquil ‚cessation of motion‘ is experienced. The ability to find inner peace, to stay connected, to stand up for something serves as a counterpoint to rush and bustle and general restlessness. Where there is a lack of inner or outer security this ‚U‘ gesture can have a stabilising effect on the physical and the emotional being.

5

Translator‘s note: the pronunciation of the vowels is as in German, thus ‚a‘ as in father, ‚e‘ as in gate, ‚i‘ as in see, ‚o‘ as in broke, ‚u‘ as in root.

F A C I A L W O R KO U T

6

7

F A C I A L W O R KO U T

As conscious awareness of emotional experience can impress itself and change the features and the expression, the eurythmic vowel exercises can have a formative influence on the organisation of the whole person. In eurythmy the whole human being becomes an instrument for the expression of spiritual and emotional qualities, for the reorganisation of one‘s emotional and physical life and the acquisition of new abilities.

Pirrko Ollilainen

D r. H a u s c h k a S k i n C a r e

D r. H a u s c h k a S k i n C a r e

5. Anatomy of the Facial Muscles 1 Musculus frontalis The frontal or forehead muscle causes the forehead to wrinkle.

2 Musculus temporalis The muscles of the temple enable us to close our jaws.

1 Frontalis muscle

3

2 Temporalis muscle 3 Corrugator supercilii muscle

4 Orbicularis oculi

muscle

7 Zygomaticus

5 Nasalis muscle

4 Musculus orbicularis oculi The orbital sphincter muscle activates the tissue surrounding the eye.

6 Levator labii

5 Musculus nasalis The nasal muscle is used to wrinkle one‘s nose.

superioris muscle

muscle

8 Buccinator muscle

9 Orbicularis oris

muscle

10 Masseter muscle

12 Depressor labii inferioris muscle

11 Depressor anguli

13 Mentalis muscle

oris muscle

14 Digastricus muscle

15 Sternocleidomastoideus muscle

6 Musculus levator labii superioris This is the muscle which raises the upper lip to smile.

7

Musculus zygomaticus The zygomatic or cheek-bone muscle helps to activate the mouth, bringing it backward and upward, as in laughing.

16 Scalenus medius

8 Musculus buccinator The buccinator muscle stabilises the area of the cheek.

17 Omohyoideus

9

muscle

muscle

18 Sternohyoideus

F A C I A L W O R KO U T

Musculus orbicularis oris The orbicular muscle of the mouth encircles the mouth and closes the lips.

It is responsible for the lip movement.

12 Musculus depressor labii inferioris* This muscle draws downward the corners of the mouth and the lower lip.

13 Musculus mentalis This chin muscle lifts the mound of the chin and the lower lip. It helps com pensate a receding chin.

14 Musculus biventer (digastricus) The digastric muscle keeps the lower jaw mobile.

15 Musculus sternocleidomastoideus The sternocleidomastoid muscle enables us to turn our head.

16 Musculus scalenus medius This triangular muscle is involved in nodding movements.

17 Musculus omohyoideus This muscle arises from the shoulder blade and is involved in turning the neck.

18 Musculus sternohyoideus The sternohyoid muscle guides the hyoid bone during the act of swallow ing.

10 Musculus masseter The masseter muscle, the muscle of mastication, enables us to move the jaws.

muscle

Musculus corrugator supercilii This is the ‚frowning‘ muscle, which produces the vertical furrows between the eyebrows.

11 Musculus depressor anguli oris This triangular muscle enables us to draw the angle of the mouth down ward.

8

9

F A C I A L W O R KO U T

* There is no exercise for this muscle

D r. H a u s c h k a S k i n C a r e

7. Dr.Hauschka Facial Workout

6. How to Do the Exercises  Take time for the exercises and carry them out regularly. Find the right frame of mind and look forward to doing them.

Part 3: ‘Relaxation’

 Practice in front of a mirror and use the exercise book until you have the programme off by heart. Using a mirror makes it easier to learn the exercises.

The last step in each exercise consists of spending a moment and becoming conscious of the executed exercises.

Feeling closely within ourselves with closed eyes, we may “relive” the exercises in our imagination once again.

 Relax between exercises. We recommend that the pauses for relaxation between the exercises should be as long as the exercises themselves.

In part 3 the muscles are ‘relaxed’ and loosened up.

Exercises

How much time should be given to the exercises?

 Carry out the exercises either sitting or standing in a relaxed position in front of the mirror. Apply a little cream to your face before you start.

Recommendation: 2 minutes per exercise every day.

How are the exercises set up?

Repeat a series of exercises around 3 to 5 times.

Part 1: ‘Practice’

D r. H a u s c h k a S k i n C a r e

How often should the exercises be done?

In the first part of the programme the different muscles are identified by ‘feeling and finding’, i.e. by deliberately tensing and relaxing them.

Part 2: ‘Resistance exercise’ In this part the ‘resistance exercise’ is carried out. Resistance is offered in deliberate doses. The degree of resistance is crucial to the effectiveness of the exercise (it must not be too strong, but neither should it be too weak).

F A C I A L W O R KO U T

10

11

F A C I A L W O R KO U T

D r. H a u s c h k a S k i n C a r e

Frontalis muscle

Shaping the Forehead, Part 1

D r. H a u s c h k a S k i n C a r e

Relaxation I Place your left palm on your head, with the little finger resting along the hairline.

With your right hand make small, loosening circles all over your forehead.

Relax with your eyes closed. Concentrate on the feeling of warmth in the forehead.

The muscle of the forehead, the Frontalis muscle, lifts the upper eyelids and eyebrows, and smoothes any horizontal lines in the skin of the forehead. This exercise is useful for combating lines and activating the scalp slowing hair loss.

Exercise I Move the skin of the forehead up and down.

Relaxation II Relax with eyes closed. Concentrate on the feeling of warmth in your forehead.

Exercise II Place both hands, overlapping, on the forehead and move the skin of the forehead up and down.

Variation: Move the skin of the forehead up and down.

See Exercise I (Page 12) Resistance Exercise Smooth the forehead. Place your left hand on your head with the little finger resting along the hairline. Use the tips of the right index and ring fingers to keep your eyebrows from moving. Your fingers resist the upward pull of the brows. Follow with relaxation exercises (see above).

Resistance Exercise Place both hands on the forehead as above, and draw the forehead up towards the scalp against the resistance of your hands. Hold the pull for five seconds, and then slowly relax. Repeat 4 times.

Relaxation See I and II.

F A C I A L W O R KO U T

12

13

F A C I A L W O R KO U T

D r. H a u s c h k a S k i n C a r e

Shaping the Forehead, Part 2

Corrugator supercilii muscle

Exercising the Corrugator supercilii, or frowning muscle, can help prevent horizontal lines on the forehead and vertical lines between the eyebrows above the root of the nose.

D r. H a u s c h k a S k i n C a r e

Shaping the Area around the Eyes, Part 1 The muscle encircling the eyes, the Orbicularis oculi, is moved deliberately to prevent the formation of ‚crows feet‘. Also it helps combat slack lids and the tendency to develop ‚bags‘ under the eyes.

Exercise Draw the eyebrows firmly together, as if thinking hard.

Exercise I Lightly close the eyes and look toward the root of the nose, directing both pupils firmly inwards. Hold for a few seconds, then slowly open the eyes and immediately focus on a particular spot. (Resistance)

Resistance Exercise Place the tips of the 3rd and 4th fingers on the outer half of the eyebrows and stroke the brow outwards, using a little traction. Gently draw the brows together against the pull of the fingers.

Relaxation Place the 2nd, 3rd and 4th fingers above the eyebrows. Loosen up the muscle with rapid sideways movements. Lightly vibrate the skin above the root of the nose and between the eyebrows with the balls of the fingers. Consciously relax with the eyes closed. (No Figure)

Relaxation Blink rapidly and then gently close your eyes. Wait until the pupils come to rest and then open your eyes again.

F A C I A L W O R KO U T

14

15

F A C I A L W O R KO U T

Orbicularis oculi muscle

D r. H a u s c h k a S k i n C a r e

D r. H a u s c h k a S k i n C a r e

Exercise II For the eye socket and eyelid area.

First close your eyes lightly, without squeezing. Then squeeze them tight shut.

Hold the tension in the muscle for several seconds. Gradually increase the time.

Shaping the Area around the Eyes, Part 2

Resistance Exercise Keeping your fingers straight, place the inside of the 3rd or 4th finger on the ‚crow’s feet‘ – right hand to right eye, left hand to left eye. Pull lightly sideways until your finger is lying on the outer edge of the bone surrounding the eye socket, “slanting” the eyes. From this position close your eyes tightly against the finely gauged resistance of your fingers and squeeze shut.

Resistance Exercise With your eyes wide open and eyebrows raised, place the inside of the 3rd and 4th fingers just underneath and along the line of your eyebrow. Place the balls of the 3rd and 4th fingers of the other hand just underneath the lower bony edge of the socket of your eye. Close your eyes tight and squeeze shut against the finely gauged resistance of both hands. Each eye must be exercised separately.

Relaxation I With the tips of your fingers make light shaking and vibrating movements around the eye socket.

Exercise I Close your eyes firmly.

Relaxation II Shake your head as if saying ‚no‘, with eyelids hanging tired and relaxed.

F A C I A L W O R KO U T

Relaxation I With the tips of your fingers make light shaking and vibrating movements around the bony eye socket.

16

17

F A C I A L W O R KO U T

Relaxation II Shake your head as if saying ‚no‘, with eyelids hanging tired and relaxed.

D r. H a u s c h k a S k i n C a r e

Shaping the Middle of the Face, Part 1

Exercise II For the eyelid and eyelash area.

Raise your eyebrows. Raise your lower lid and draw it inwards, as if you were glaring at someone with anger and hostility.

Nasalis muscle

Exercises specifically for the Nasalis muscle of the nose help prevent enlargement of the nose in later life (rhinophyma). They tone the shape of the nose and keep the nostrils flexible.

Exercise Dilate both nostrils while slowly and intensively breathing in, sniffing occasionally as you do so. As you breathe out, draw your nostrils together again.

Repeat exercise 6 to 7 times.

Resistance Exercise Raise the lower lid and draw inwards. With your 3rd and 4th fingers at an angle (right hand to right eye, left hand to left eye) apply gentle, sensitive resistance.

Relaxation I With the tips of your fingers make light shaking and vibrating movements around the bony eye socket.

D r. H a u s c h k a S k i n C a r e

Relaxation II Shake your head as if saying ‚no‘, with eyelids hanging tired and relaxed.

Relaxation Gently push the tip of your nose up with your finger and then press it down lightly.

Repeat the exercise 4 to 5 times.

F A C I A L W O R KO U T

18

19

F A C I A L W O R KO U T

Resistance Exercise Lay your thumb and forefinger against your nostrils and dilate the nostrils against the pressure of the fingers. At the same time breathe in and feel the movement of the muscle. Breathe out slowly through your nose and feel your chest falling.

D r. H a u s c h k a S k i n C a r e

Shaping the Middle of the Face, Part 2

Levator labii superioris muscle

Moving the rectangular muscle of the upper lip, the Levator labii superioris, helps prevent wrinkling of the upper lip and stops the corners of the mouth from drooping.

The muscle also lifts the upper lip.

Exercise Draw the corners of your mouth far to the side, lifting your upper lip until your top teeth are visible. Keep your mouth relaxed and do not clench your teeth. Let your mouth return to its normal position.

Repeat exercise 5 to 7 times.

D r. H a u s c h k a S k i n C a r e

Shaping the Middle of the Face, Part 3

Zygomatic muscle

The big muscle of the cheek bone (Musculus zygomaticus) is the laughter muscle. It lifts the corners of the mouth and bares the teeth.

Resistance Exercise Puff up your cheeks and force the air into the pouch behind your upper lip until your lip is smooth and balloons outwards (no horizontal or vertical lines are visible). ‚Chew‘ the mouthful of air.

Exercise Draw the corners of your mouth sideways as far as possible, at the same time lifting your whole mouth so that your top teeth are visible.

Relaxation Let your upper lip lie loosely on the lower, then make both lips vibrate by blowing like a horse.

Relaxation Now expel the trapped air gently through your slightly open mouth (‚blowing bubbles‘).

F A C I A L W O R KO U T

20

21

F A C I A L W O R KO U T

Resistance Exercise Place the tips of both middle fingers on your top lip above the corners of your mouth.

Pinch your top lip between your fingers until the finger tips touch. Draw the corners of your mouth sideways and upwards against the pressure of your fingers.

D r. H a u s c h k a S k i n C a r e

Shaping the Mouth and Chin, Part 1

Orbicularis oris muscle

The Orbicularis oris muscle can be strengthened to offset a drooping mouth.

It improves the shape and contour of the lips and increases their tone.

Exercise Close your mouth and press the upper lip firmly against the lower, not letting your upper lip wrinkle. Now pucker your lips and hold for about 30 seconds. Then return to the original position.

Repeat the exercise 3 to 4 times.

D r. H a u s c h k a S k i n C a r e

Shaping the Mouth and Chin, Part 2 Exercise for the triangular muscle of the chin, the Depressor anguli oris, to combat drooping at the corners of the mouth.

Resistance Exercise Close your mouth and place your index finger on your lips. Pout hard against the pressure of the finger and try to push the finger away with your mouth.

Repeat the exercise 3 to 4 times.

Relaxation Let your upper lip lie loosely on the lower, then make both lips vibrate by blowing like a horse.

Exercise Open your lips, leaving your teeth closed but not biting hard. Draw the corners of your mouth sideways and down. This lowers your bottom lip and the bottom teeth are now visible.

Relaxation Tilt your head forward so that you are looking at the ground. Relax all the muscles, allowing your mouth to open slightly.

Shake your head rapidly sideways, as if saying ‚no‘. Your mouth starts to wobble loosely.

F A C I A L W O R KO U T

22

23

F A C I A L W O R KO U T

Depressor anguli oris muscle

Resistance Exercise Pinch the sides of your lower lip together between thumb and index finger of the same hand until they touch. Keeping the fingers together, draw the corners of your mouth sideways and down against the pressure of your fingers.

D r. H a u s c h k a S k i n C a r e

Shaping the Mouth and Chin, Part 3

Mentalis muscle

The chin muscle (Musculus mentalis) lifts the mound of the chin and the lower lip. It helps compensate a receding chin.

Exercise Raise your chin and lower lip energetically.

D r. H a u s c h k a S k i n C a r e

Shaping the Side Profile of the Cheeks The Masseter muscle raises the lower jaw and is responsible for the overall harmonious appearance of the face.

Resistance Exercise With your mouth loosely open, place your index finger horizontally across the mound of your chin and draw your lower lip downwards. Lift your chin and lower lip, against the resistance of your index finger which is pulling downwards, until your mouth is closed.

Relaxation With your chin and bottom lip completely relaxed place the index and middle fingers of one hand at the side of the mound of the chin and move from side to side with a rapid horizontal movement.

Exercise Press your back teeth together hard. Slowly increase the pressure and feel the muscle contract (approx. 20 sec), then relax.

Resistance Exercise Open your mouth wide and lower your bottom jaw as far as possible. Lay your index finger on the bottom teeth. Now try to close your mouth until the back teeth meet. Press down with your finger to try to stop your mouth closing.

Relaxation With a rapid shaking motion vibrate the muscle at the angle of the lower jaw using the tips of your fingers.

Tilt your head forward a little, open your mouth slightly and turn your head slowly from side to side (remaining relaxed) as if saying ‘no’.

Tilt your head slightly forwards and allow your mouth to open a little.

1. Slowly and loosely turn your head right and left, as if saying ‘no’.

2. Rapidly shake your head from side to side, as if saying ‘no’, and allow your mouth to wobble loosely.

(See Figure, p. 23)

F A C I A L W O R KO U T

24

Masseter muscle

25

F A C I A L W O R KO U T

D r. H a u s c h k a S k i n C a r e

Shaping the Floor of the Mouth and the Neck, Part 1

Shaping the Floor of the Mouth and the Neck, Part 2

Mylohyoideus muscle

The Mylohyoideus muscle affects the area around the chin and, given the right exercises, can improve the profile of the chin.

It stimulates blood flow to the nerves of the gums.

The Sternohyoideus muscle keeps the hyoid bone in place to support the work of the upper hyoid bone muscles on the lower jaw and tongue.

Exercise I Roll your tongue back and place it against the roof of your mouth, pressing it towards your throat. Now try to swallow! The muscle is raised firmly, causing a concave curve under the chin. A double chin disappears. Repeat the swallowing movement 5 to 7 times.

Resistance Exercise for I and II Carry out the same movement as described above but place the tip of your index finger in the indentation between the two upper parts of the thyroid cartilage of the larynx and press downwards against the upwards motion of the hyoid bone.

Exercise II Touch the tip of your nose with your tongue.

Relaxation for Exercises I and II Tilt your head forward slightly, open your mouth a little and shake your head, slowly and loosely, as if saying ‘no’.

F A C I A L W O R KO U T

D r. H a u s c h k a S k i n C a r e

26

Sternohyoideus muscle

Exercise Lower the hyoid bone by opening the mouth as if to start yawning, or by emitting a deep ‚m...ooo‘ sound with your mouth closed.

Resistance Exercise Thumb and index finger of one hand clasp the lower edge of the thyroid cartilage and thus resist the yawning movement.

Relaxation Stretch the muscle by tilting the head far back.

Sit at a table and lay your forehead on it, then take your larynx between your finger and thumb. Vibrate the muscles by shaking to relax them.

27

F A C I A L W O R KO U T

Shaping the Front Area of the Throat (the Neck Muscles)

D r. H a u s c h k a S k i n C a r e

D r. H a u s c h k a S k i n C a r e

Sternothyroideus muscle

Shaping the Lateral Throat and Neck Area

Sternohyoideus muscle

The deep muscles of the front of the neck constitute a functional unit, the actions of which are almost inseparable. The neck muscle (Platysma myoides) increases blood supply to the face, tones and rejuvenates the neck, and lifts the tissue of the chest.

Omohyoideus muscle

Exercise Bend your head lightly backwards and loosely thrust your chin out (with the lower jaw protruding): express all the air from your chest. Still with your chin thrust forward turn your head alternately left and right and look over your shoulder with a proud expression.

Repeat the exercise 3 to 5 times.

The Trapezius muscle has an effect on the back of the neck. It breaks down the rolls of fat which form on the back of the neck, it improves and tones the contours of the neck, and it increases the blood supply to the shoulders and back.

Exercise 1. Lift the shoulders (one at a time and both together).

Resistance Exercise Clasp your neck in your hand, touching the Platysma muscle. Now repeat the above exercises against the resistance of your fingers.

Relaxation Allow your head to fall backward and forward loosely. If your cervical vertebrae are fully intact you may also rotate your head slowly. Otherwise, just gently nod your head backwards and forwards.

F A C I A L W O R KO U T

28

29

F A C I A L W O R KO U T

Trapezius muscle

D r. H a u s c h k a S k i n C a r e

D r. H a u s c h k a S k i n C a r e

Resistance Exercise 1. Get someone to push down on your shoulders while you try to lift them.

2. Raise your shoulders while holding weights in your hands.

2. Swing your arms out to the sides (flying).

3. Make circles with your shoulders (back- wards and forwards).

4. Make circles with your arms (in both directions).

3. Raise your arms to the side and circle – against resistance.

Final Relaxation: From a standing or sitting position bend your body forwards, allow your arms to hang down and swing until they come to rest. At the same time, breathe in and out rhythmically.

F A C I A L W O R KO U T

30

31

F A C I A L W O R KO U T

We thank Pirrku Ollilainen (eurhythmy), Heidi Künstner (colors), as well as Johannes-Christian Rost (drawings), for their professional contribution in creating this booklet.

Publishing Details Dr.Hauschka Facial Workout Brochure Art.-Nr. 102 512 199 / W804909 1st printing 2008 ©2008 WALA Heilmittel GmbH Boßlerweg 2 73087 Bad Boll GERMANY Phone: +49 (0) 7164 930-181 Fax: +49 (0) 7164 930-297 info@dr.hauschka.de www.wala.de www.walavita.de www.dr.hauschka.de www.walaarzneimittel.de Drawings: Johannes-Christian Rost Layout: Maud Altmann, WALA Grafik Printing: Greiserdruck, Rastatt Paper: 100 % Recyclingpapier