Beginners makeup certificate 2014 toolkit v1 by MiNK London

Beginners Makeup Certi0icate Toolkit

Beginners Makeup Cer/ﬁcate Toolkit Designed by Dezine Koncepts Ltd. 2012

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"Makeup is a skill that once learned can never be taken away from you. Since the beginning of /me women have found it necessary to enhance their appearance and this won't ever change. In a world of changing fortunes it is a 'smart' move to acquire a set of skills that people will always require" Funmi Odegbami Director of MiNK London

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Course Outline 1 2 3 4 5 6 7 8

GeRng Started Mastering Faces Mastering Eyes Mastering Lips Designing a Makeup Look PuRng it all together The Business of Makeup A\er Care and Useful informa/on WWW.THISISMINK.COM

6 76 107 152 167 179 198 233 5

1 GeRng Started

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GeRng Started A.

Introduc/on

Your Health, Your Safety

Studio Rules

Dress Code

Makeup Ar/stry

F. G.

History of Makeup The Makeup Kit

Steriliza/on and Hygiene

Contra-‐Indica/ons

Skin and Skin Care

Colour TWWW.THISISMINK.COM heory

Introduc/on

About MINK •  MiNK London is the UKs leading makeup and beauty brand for people of colour! Our services and makeup courses are suitable for Black, La/no, Indian, Mediterranean, Mixed and White skin tones. •  The company runs a private makeup school, a makeup agency and a produces large scale makeup events •  The private makeup school specialises in short, comprehensive makeup programmes •  The makeup agency provides makeup services for magazines, TV/ﬁlm, catwalk, stage, weddings and more •  The makeup events are facilitated by some of the world’s greatest makeup professionals and aim to provide ahendees with the very best makeup resources. WWW.THISISMINK.COM

Introduc/on Aim of the Beginner’s Makeup Cer>ﬁcate: •  Give a full understanding of everything you need to know when star/ng out in makeup ar/stry •  Step-‐by-‐step instruc/on and a range of ac/vi/es to encourage you and develop your conﬁdence •  Help you to develop an ‘ar/s/c eye’ •  Teach you how to run a successful makeup business •  Help you to develop a library of useful informa/on •  Accredited course that will assure prospec/ve clients that you have received the highest standard of training available. WWW.THISISMINK.COM

Introduc/on Student objec/ves What do you want out of this course?

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Your Health, Your Safety

•  If you are an employee (full- or part-time, temporary or permanent), this information explains what your rights are, what you should expect from your employer, what responsibilities you have and where to go for help. It also applies to you if you are a young person doing work experience, an apprentice, charity worker, mobile worker or home worker •  If you are a temporary, casual or agency worker, the employment business/agency, gang master, contractor or hirer you are working for has a legal duty to ensure you receive the rights set out here. WWW.THISISMINK.COM

Your Health, Your Safety You have the right: •  To work in places where all the risks to your health and safety are properly controlled •  To stop working and leave the area if you think you are in danger •  To inform your employer about health and safety issues or concerns •  To contact HSE or your local authority if you still have health and safety concerns and not get into trouble •  To join a trade union and be a safety representative •  To paid time off work for training if you are a safety representative •  To a rest break of at least 20 minutes if you work more than six hours at a stretch and to an annual period of paid leave. WWW.THISISMINK.COM

Your Health, Your Safety You must: •  Take care of your own health and safety and that of people who may be affected by what you do (or do not do) •  Co-operate with others on health and safety, and not interfere with, or misuse, anything provided for your health, safety or welfare Your employer must tell you: •  About risks to your health and safety from current or proposed working practices •  About things or changes that may harm or affect your health and safety •  How to do your job safely •  What is done to protect your health and safety •  How to get first-aid treatment •  What to do in an emergency. WWW.THISISMINK.COM

Your Health, Your Safety Your employer must provide, free of charge: •  Training to do your job safely •  Protection for you at work when necessary (such as clothing, shoes or boots, eye and ear protection, gloves, masks etc) •  Health checks if there is a danger of ill health because of your work •  Regular health checks if you work nights and a check before you start (Note: If you are genuinely self-employed you are responsible for providing your own first-aid arrangements, training, protective equipment and health checks, and for organising your own working time.) WWW.THISISMINK.COM

Your Health, Your Safety Your employer must provide you with the following information: •  Health and safety law: What you should know. This should give the contact details of people who can help •  Their health and safety policy statement •  An up-to-date Employers’ Liability (Compulsory Insurance) certificate visible in your place of work What to do if you are concerned about your health and safety: •  Phone HSE’s Info line 08701 545500 for advice or to complain, or the TUC’s Know Your Rights line 0870 600 4882 •  If you would like to speak to someone in a language more suitable to you please call 08701 545500 and tell the operator which language •  If you have lost your job because of a health and safety matter you may be able to complain to an Employment Tribunal. Ask your trade union or local Citizens Advice Bureau for advice.

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10 Studio Rules

1.  Remember the Golden Rule: treat others as you would like to be treated 2.  Everyone working in the studio is responsible for the condi/on of the space 3.  When finished working, clean your area and any studio equipment or tools you used and return tools (cleaned!) to their proper loca/on a\er you use them 4.  Be fair in your use of table surfaces and storage areas. Consolidate and share space with others 5.  Ask permission to use equipment and use it properly. It is expensive to fix and/or replace 6.  Limit noise. Keep loud conversa/ons and cell phone use outside the studio 7.  Mobile phones should be switched off or put on silent 8.  Show considera/on when an instructor is lecturing or helping another person 9.  Please arrive on /me, if you are more than 30 minutes late your instructor is authorized to refuse you entry 10. Wait at recep/on, and not in the corridors, un/l the tutor invites you into the training room. WWW.THISISMINK.COM

D Dress Code Maintaining a professional appearance is vital to your success; and here at MiNK London we require professionalism in all areas and at all /mes. We are represen/ng the training centre, the professional makeup industry and the world of fashion and beauty. So we must ALL look the part! We have established the following dress code to ensure fairness, consistent standards, a professional working environment and posi/ve habits for our staﬀ and our students: 1.  Please ahend the class wearing a smart black or dark coloured top and black or dark coloured bohoms; it can be a skirt, trousers, jeans etc. 2.  Low ﬂat heels should be worn for safety and to encourage good posture WWW.THISISMINK.COM

Dress Code 3.  Skirts must be no shorter than 3 inches above the knee 4.  Shorts and miniskirts are not permihed unless they are worn over leggings or thick black /ghts 5.  Appropriate length top or skirt should be worn over leggings 6.  Denim must be clean and not torn or ripped 7.  Undergarments are required and should not be visible at any /me 8.  Revealing clothing is not permihed e.g. exposed mid-‐riﬀ, very low cut tops etc. Students who choose not to come in the correct dress code will not be allowed to enter the class un/l they are in compliance with the dress code, which may not allow them the opportunity for that days educa/on. WWW.THISISMINK.COM

Makeup Artistry

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Makeup Ar/stry

•  A career in makeup ar/stry is based around the design and applica/on of cosme/cs •  The term ‘cosme/cs’ or ‘cosmetology’ arises from the Greek word kosmee3n, which means to decorate •  The use of cosme/cs has always been part of human life: humans in primi/ve socie/es used natural pigments from the earth to create ‘cosme/cs’ that were applied to the body as a form of decora/on and were o\en used as part of rituals and ceremonies. WWW.THISISMINK.COM

Makeup Ar/stry •  Makeup ar/sts prepare hair and makeup for presenters, performers and models appearing in front of a camera or a live audience •  A makeup ar/st can create anything from a natural look, to complex period makeup, wigs or special eﬀects makeup •  You could work alone, as an assistant or as part of a team Your work could include: •  researching and designing makeup and/or hairstyles •  working to detailed notes or a rough design brief •  ﬁRng wigs, hairpieces and prosthe/cs •  keeping notes and photographs to maintain con/nuity •  standing by on set to re-‐do makeup and hair WWW.THISISMINK.COM

Makeup Ar/stry Perks •  The job is crea/ve and varied; you can end up doing hair-‐styling, body-‐pain/ng and special eﬀects on one job •  You get to meet lots of people and photo shoots can mean foreign travel opportuni/es •  The money is very good at the top.

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History of makeup

•  C. 500,000 B.C.E. Cave dwellers in Africa and South America cover their bodies with mud applied in decora/ve paherns. The mud also func/ons as an insect repellent •  C. 3000 B.C.E. Egyp/ans use more than thirty diﬀerent types of cosme/cs balms and ointments made from ingredients such as beeswax, vegetable oil, and animal fat. Moisturisers are considered so essen/al, they are rou/nely distributed to workers and farmers Egyp/an women have elaborate makeup chests, equipment and products. They give themselves egg white facials, use complexion cream and apply perfumed oils. Women paint their faces with a (deadly) powder made from lead carbonate and water. Nails are painted with henna, and lips/cks are available in several orange-‐based shades WWW.THISISMINK.COM

History of makeup •  C. 2000 B.C.E. An Egyp/an papyrus includes formulas for removing wrinkles, pimples, age spots and other blemishes. Once mixture includes bullocks bile. Egyp/ans who want to get rid of wrinkles are told to apply a mixture of incense, olive oil, crushed cyperus and wax to the face and to leave it on for six days Overseers stop all work on the pyramids un/l makeup supplies (kohl, green malachite, and galena) that help to protect the eyes of workers from the sun are delivered •  C. 2500 B.C.E. Sumerians invent the ﬁrst tweezers to get rid of unwanted hair and use a ﬂat bone to push back cu/cles •  C. 1800 B.C.E Gold dust is used by Babylonian men to powder their hair. WWW.THISISMINK.COM

History of makeup •  C. 1500 B.C.E. Egyp/an women use body oils scented with frankincense and myrrh to moisturise and protect their skin from the dry, dusty climate •  C. 1200 B.C.E. Egyp/ans of this era are wearing a full face of cosme/cs. They create eye shadows out of malachite, a copper ore that has a greenish tone, to line their bohom lids. Eyelashes and upper lids are darkened with powder made from lead ore •  C. 600 B.C.E. Makeup and lavish clothing is worn by all Babylonians of rank •  C. 400 B.C.E. Women from various cultures use powders made from crushed minerals, such as ocher, hema/te, and white lead, to colour their skin. WWW.THISISMINK.COM

History of makeup •  First century B.C.E. Roman women use saﬀron or wood ash as eye shadow and an/mony to darken their lids, ashes, and brows. Fucus, a purple pigment, is mixed with saliva and used for rouge and lip colour. Blue paint is used to outline veins, which are seen as a sign of beauty. Nails are buﬀed with sheep’s fat. Pumice is used to whiten teeth •  Second century A.D. Women is Pales/ne apply a mixture of starch, white lead, and crimson dye to their faces as an early form of blush •  Third century A.D. Talmudic law forbids Jewish women from applying makeup on the Sabbath. WWW.THISISMINK.COM

History of makeup •  636 The ﬁrst glass mirror is invented. Women hang them placed in elaborate cases, on a chain from their girdles, and men keep theirs under their hats •  1370 Charles V of France receives a gi\ of Hungary water, a body rub made of an alcohol base with rosemary, cedar and turpen/ne. Soap is a luxury, but the use of these waters sweetens the smell of the body •  C. 1400 Cosme/cs, including a white paste made of ﬂour to cover the face, become increasingly popular among the French aristocracy. Women pluck their hairlines and even remove their eyebrows in the name of beauty. WWW.THISISMINK.COM

History of makeup •  C. 1500 Renaissance women use a mixture of honey and egg whites to condi/on their skin. White lead is applied to reduce the appearance of wrinkles. Mercuric sulphide is used for rouge. To keep complexions clear, some wash their faces in urine or a mixture of rose water and wine. To reduce ruddiness, raw veal soaked in warm milk for several hours is placed on the aﬀected area •  C. 1550 Catherine de Medicis uses a skin tonic made from crushed peach blossoms mixed with almond oil •  1597 Gerard’s Herbal is published. This is one of the ﬁrst printed publica/ons to include recipes for various skin creams, including one for acne. WWW.THISISMINK.COM

History of makeup •  1603 Queen Elizabeth I dies and is rumoured to have an inch and a half of makeup on her face at the /me of her passing. This is not uncommon in an era when no one washes their faces, and makeup is used to cover the horrible scars le\ by smallpox •  Late 1600s A doll like look with a pure white face and scarlet cheeks is all the rage. A founda/on of white ceruse, which contains lead, is mixed on a palehe with water or egg and applied to the skin. Rouge is commonly applied by rubbing a piece of Spanish felt or wool that has been dyed scarlet onto dampened cheeks •  C. 1830 Women put a few drops of belladonna into their eyes to dilate the pupils, crea/ng a dreamy look. Belladonna is a plant extract used since ancient /mes as a poison. WWW.THISISMINK.COM

History of makeup •  1867 The department store B. Altman and Company opens a “making up” department to teach women to apply rouge, powder and eyebrow pencil •  1886 Avon the door-‐to-‐door cosme/cs line is founded by David Hall McConnell, a former door-‐to-‐door sales man •  C. 1900 Guerlain introduces the ﬁrst lip colours to come in s/ck form •  1891 Polish-‐born Helena Rubinstein opens the world’s ﬁrst modern beauty salon, in Australia. She sells simple face cream inspired by her mother’s beauty cream. The product is an instant hit among Australian women. In 1902 Helena expands her business to London, followed by Paris in 1906 and N ew York in 1912. WWW.THISISMINK.COM 30

History of makeup •  1908 Actresses are the only people who know much about makeup, as it is used exclusively for the stage. No woman dares to go out in public with more than the lightest dus/ng of rice powder. Rice powder makes the face appear lighter but also swells up in the pores of the skin, enlarging them. Helena Rubinstein starts to produce a /nted powder that is more natural looking, does not have harmful side effects and has a broad appeal •  1909 Rubinstein’s lifelong rival, Elizabeth Arden, opens her Fi\h Avenue salon. The Russian immigrant Max Factor opens his first makeup studio in Hollywood •  1910 The first pressed compact powders – complete with mirrors and puffs are introduced. WWW.THISISMINK.COM

History of makeup •  1914 A\er seeing his sister Maybel apply petroleum jelly to her lashes, T. L. Williams formulates the first mascara. He forms a company called Maybelline a\er his sister, to manufacture the new product •  C. 1920 Coco Chanel makes tans chic calling a suntan an important fashion accessory •  1920’s The flapper Clara Bow is everyone’s favourite “it” girl. Her look includes heavy eyeliner and ultrathin eyebrows. The opening of chain stores, in which products can be examined by all. Make inexpensive cosme/cs available to everyone •  1930 When she finds that one of her new creams can heal and improve the skin in a maher of hours, Elizabeth Arden names the product Eight Hour Cream. It remains a best WWW.THISISMINK.COM 32 seller to this day.

History of makeup •  1939-‐45 World War II restricts the manufacture of cosme/cs. Petroleum and alcohol, two principal ingredients used in makeup, and needed for war supplies •  1940s Joan Crawford’s heavily pencilled-‐in, arched eyebrows become the trademark look for the 1940s career woman •  1943 Estee Lauder launches her company with a line of 6 products •  1952 Revlon’s Fire and Ice, an all-‐out sexy red lips/ck colour is launched and becomes an instant success. WWW.THISISMINK.COM

History of makeup •  1967 The supermodel Twiggy popularises a drama/c eye look; she draws lashes around the eye with a pencil and applies numerous false lashes, crea/ng a doe-‐eyed eﬀect •  1970s Natural makeup is all the rage •  1980s Makeup is strong and exaggerated. Colour trends are bold, lots of blues and fuchsias. Avon and Mary Kay create palehes to take the guesswork out of choosing a colour scheme •  1984 Canadians Frank Toskan, a makeup ar/st and photographer, and Frank Angelo, a hair salon owner, launch Makeup Art Cosme/cs or MAC. Their line, which is originally designed for use in fashion photography, uses socially conscious moho: “All ages, all races, all sexes”. Makeup Forever is launched by Dany Sanz amd Jacques Waneph. WWW.THISISMINK.COM 34

History of makeup •  1990s Makeup is all about looking natural •  1991 New York makeup ar/st Bobbi Brown launches Bobbi Brown essen/als with ten brown-‐based lips/cks at Bergdorf Goodman •  1994 Jeanine Lobell launches S/la Cosme/cs Fashion model Iman launches IMAN, a line of cosme/cs for women of colour Francois Nars launches NARS with twelve lips/cks at Barneys New York •  2000s – Present Fake tans, sun beds, and tanning products are all the rage, mineral based makeup enters the market place, and makeup brands explode. WWW.THISISMINK.COM 35

The Makeup Kit

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The Makeup Kit

Using the right makeup tools is essen/al. It can make the diﬀerence between looking unpolished and looking fabulous •  Mirrors – mistakes become glaringly obvious in the mirror •  Ligh/ng – ligh/ng will aﬀect how you view the makeup •  Pencils – Pencils are available in so\ and hard textures and a variety of sizes •  Eyelash curlers •  Tweezers •  Palehes •  Founda/ons WWW.THISISMINK.COM 37

The Makeup Kit •  •  •  •  •  •  •  •  •

Concealer Gold/silver shimmer powder Powder blush / Cream blush Translucent powder Mascara Cream, liquid or gel eyeliner Highlighter Lip gloss Lip s/ck WWW.THISISMINK.COM

Brushes 1.

10. WWW.THISISMINK.COM

Brushes 1.  Powder brush: a fluffy, oversized brush used to dust on loose powder or bronzer 2.  Blush brush: A round, medium-‐sized brush used to apply and blend blush or bronzer 3.  Founda/on brush: A large, flat, oval brush used to apply liquid or cream founda/on. Usually made of synthe/c fibres 4.  Wedge sponge: Used for applying and blending founda/on. Can be used dry for a mahe finish, or wet for a dewier look 5.  Smudge brush: for a so\ or smoky look, trace it back and forth along eyeliner, blurring it out in the process.

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Brushes 6.  Shadow brush: A fine, flat brush used to highlight the brow bone, accentuate the crease, or sweep colour all over the lid 7.  Brow Brush: A firm, angled brush used to sweep colour onto the eyebrow 8.  Line brush: A s/ff-‐bristled brush used to trace an exact line along the lashes 9.  Eyelash separator: Use to comb through mascaraed lashes to get rid of clumps. Rinsed clean, it’s great for blending in brow pencil 10. Lip brush: A /ny brush used to apply lips/ck or gloss – gives great defini/on. WWW.THISISMINK.COM

Sterilization and Hygiene

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H Steriliza/on and Hygiene Personal hygiene and conduct •  Hair should be clean and long hair should be worn oﬀ face •  Clean clothes should be worn •  Chewing gum whilst working should be avoided •  Strong perfumes or a\ershave should be avoided •  Nails should be short and clean. Polish should not be worn, as some clients may be sensi/ve to it •  Jewellery, par/cularly rings and bracelets, should not be worn as they may scratch/irritate the client. WWW.THISISMINK.COM

Steriliza/on and Hygiene Personal hygiene and conduct •  Hands should be cleansed before each client with suitable hand wash/sani/zer •  Wounds and open sores on the hands should be covered with suitable waterproof dressing •  Good oral hygiene is important, par/cularly if you are a smoker or have eaten strongly ﬂavoured food •  Low of ﬂat heels should be worn for safety and to encourage good posture •  Always follow legisla/ve and workplace rules and regula/ons. WWW.THISISMINK.COM

Steriliza/on and Hygiene •  Healthy and hygienic working condi/ons are very important. Infec/on may occur when dirty equipment is used or an ar/st works un-‐hygienically. There are a number of ways to clean makeup equipment to avoid cross-‐infec/on: •  Method 1 – wash in warm soapy water, rinse and immerse in barbicide solu/on for recommended /me. Rinse well •  Method 2 – wash out with barbicide solu/on. Rinse well. Suitable for: water sprays •  Method 3 – wipe clean with alcohol or a sterile wipe. Sterilise in autoclave*. Place in UV cabinet ready for use (suitable for: scissors, tweezers) WWW.THISISMINK.COM

Steriliza/on and Hygiene •  Method 4 – If unsuitable for cleaning, dispose of item e.g. sponges, heavily soiled powder puﬀs •  Method 5 – Wash in washing machine at 60⁰C. Tumble dry on hot cycle. Suitable for lightly soiled powder puﬀs, towels, head bands, makeup gowns •  Method 6 – remove excess cosme/cs on a /ssue. Use a professional brush-‐cleaning product, which cleans and disinfects. * Barbicide is a disinfectant solu/on used in barber shops and hair salons to disinfect items such as combs and scissors, where it is a very well-‐recognized symbol of cleanliness and sanita/on * An autoclave is a device to sterilize equipment and supplies by subjec/ng them to high pressure saturated steam at 121 °C or more, typically for 15 to 20 minutes depending on the size of the load and the contents. WWW.THISISMINK.COM

Steriliza/on and Hygiene You will also need to get rid of any makeup that has past its expira/on date: Liquid and Cream Founda/on

2 Years

Concealer

2 Years

Powder

2 Years

Mascara

6 Months

Lips/ck

12 to 18 Months

Lip and Eye Pencils

12 to 18 Months

Eye Shadow

2 Years

Powder Blush

2 Years

Cream Blush

2 Years

Face Cream

2 Years

Eye Cream

2 Years WWW.THISISMINK.COM

Contra-indications

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Contra-‐indica/ons

•  A contra-‐indica/on is any reason why a makeup ar/st may not treat the client. During consulta/on, while ques/oning and observing the client, he/she may inform you of a contra-‐indica/on he/she has or you may no/ce a contra-‐indica/on to treatment that the client may be unaware of. It is essen/al, therefore, that you are able to recognise these contra-‐indica/ons in order to prevent treatment or to limit or adapt it in some way.

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Contra-‐indica/ons •  A contra-‐indica/on exists when:

–  An infec/ous disease is present –  A disorder or medical condi/on may prevent treatment –  A condi/on is present, for which medical approval must be sought before treatment

•  Contra-‐indica/ons may be deﬁned as

–  General: would contra-‐indicate most treatments and affect the whole body –  Specific: would contra-‐indicate a par/cular treatment or prevent treatment on a specific area of the body –  Temporary: would prevent treatment only for a short period of /me. WWW.THISISMINK.COM

Contra-‐indica/ons •  Under no circumstances must you diagnose any medical condi/on •  When you suspect there is a medical condi/on that may contra-‐indicate treatment, you will need to be tacxul when discussing this with the client •  Try not to alarm the client, but explain that it would be in his/her best interest to seek medical approval •  The most important considera/on for you is to prevent cross-‐infec/on occurring •  For this reason, clients with an infec/ous disorder or disease must not be treated •  It is the responsibility of the client to obtain permission for treatment from his/her GP or specialist, preferably in the form of a leher. WWW.THISISMINK.COM

Contra-‐indica/ons •  Contra-‐indica/ons fall into four categories: 1. Viral 2. Bacterial

3. Systemic 4. Fungal

VIRAL

BACTERIAL

SYSTEMIC

FUNGAL

Herpes simplex

Impe/go

Diabetes

Ringworm

Chickenpox

Paronychia

Mul/ple sclerosis

Athlete’s foot

HIV

Stye

Osteoporosis

Warts

Boil

Asthma

Rubella

Bronchi/s

Verruca

Bells palsy WWW.THISISMINK.COM

Contra-‐indica/ons Contra-‐indica/ons requiring medical permission – where medical permission cannot be obtained clients must sign a consent form sta/ng that the treatment and its effects have been explained and confirm that they are willing to proceed without permission from their GP •  Medical oedema •  Nervous/Psycho/c condi/ons •  Epilepsy •  Recent facial opera/ons affec/ng the area •  Diabetes •  Skin cancer •  Slipped disc •  Undiagnosed pain •  When taking prescribed medica/on •  Whiplash. WWW.THISISMINK.COM 53

Contra-‐indica/ons Contra-‐indica/ons that restrict treatment: •  Fever •  Contagious or infec/ous diseases •  Under the inﬂuence of recrea/onal drugs or alcohol •  Diarrhoea and vomi/ng •  Any known allergies •  Eczema •  Undiagnosed lumps and bumps •  Localised swelling •  Inﬂamma/on. WWW.THISISMINK.COM

Contra-‐indica/ons Contra-‐indica/ons that restrict treatment: •  Cuts •  Bruises •  Abrasions •  Scar /ssues (2 years for major opera/on and 6 months for a small scar) •  Sunburn •  Hormonal implants •  Recent fractures (minimum 3 months) •  Sinusi/s •  Neuralgia •  Migraine/Headache. WWW.THISISMINK.COM

Contra-‐indica/ons Contra-‐indica/ons to eye makeup •  All the general contra-‐indica/ons plus any form of eye infec/on •  Any eye surgery (approximately 6 months) •  Conjunc/vi/s •  Stye •  Hay fever •  Watery eye •  Blephari/s •  Infec/ous and non infec/ous skin condi/ons speciﬁc to the eye and surrounding area to include: –  Atopic eczema –  Atopic derma//s –  Psoriasis.

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Skin and Skincare

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Skin •  Beauty starts with smooth, healthy, glowing skin •  The skin is a very important organ to a makeup ar/st. It is the canvas on which they work. An understanding of the structure and func/ons of the skin is essen/al for carrying out makeup procedures safely and eﬀec/vely •  The skin is composed of three layers: a deep layer called the hypodermis, a middle layer called the dermis and a surface layer called the epidermis •  The epidermis gives immediate, visual clues to the condi/on of the skin, while the dermis determines how the skin responds and changes with age. WWW.THISISMINK.COM

Skin •  On the surface of the epidermis is a layer of oil transported from the dermis by the hair follicles that forms a natural barrier, helping the skin to retain water •  Harsh and scented cleansing products, exposure to chemical and biological pollu/on in the environment, and poor diet can remove the protec/ve oil-‐based layer from the skin •  The oil content in moisturisers works with the protec/ve lipid coa/ng of the skin to par/ally protect the skin from the air •  HYDRATION is the key to smooth, even skin and moisturisa/on is the external way to achieve it. WWW.THISISMINK.COM

Skin Care: Skin Type •  The makeup ar/st needs to carry out a skin analysis for the following reasons: –  To check the skin for contra-‐indica/ons –  To iden/fy the models skin type –  To iden/fy the correct products to use –  To advise the model on homecare rou/nes and products –  To record any areas requiring special ahen/on or treatment e.g. spot possible skin cancers

•  There are three methods for carrying out the analysis: –  Visual examina/on, Ques/oning and Manual examina/on.

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Skin Care: Skin Type Oily Skin: Skin tends to over produce sebum, making it feel and appear oily. Maintenance goal oil control •  Beneﬁt: skin is always well moisturised and will get fewer wrinkles as it ages •  Drawback: skin is more prone to breakouts, since sebum has the tendency to mix with dead skin cells, this clogs the pores and produces pimples •  Treatment: use water based, oil free, fragrance free products, use astringents, don’t use oil-‐based creams or lo/ons, don’t use acne-‐medicated or abrasive cleansing pads. WWW.THISISMINK.COM

Skin Care: Skin Type Dry Skin: Dryness occurs when skin doesn’t produce enough moisture and sebum. Maintenance goal replenish and maintain balance of water and oil on skin •  Beneﬁt: dryness can make skin look great – with ﬁne pores and a clear surface •  Drawback: can be uncomfortable and rough to touch •  Treatment: use rich, cream based, moisture-‐ condi/oning, dermatologically tested products. Don’t use astringents formulated for oily and combina/on skin, don’t use petroleum jelly, cocoa buher, mineral oil, or baby oil as a facial moisturiser. WWW.THISISMINK.COM

Skin Care: Skin Type Combina>on skin: Combina/on or unbalanced skin. Where the T-‐zone contains more oil glands than the rest of the face. Maintenance goal treat, care for and maintain skin •  Beneﬁt: skin is always well moisturised and will get fewer wrinkles as it ages •  Drawback: oily or pimple prone along the perimeter of face, products that help one part can hurt another part of the face •  Treatment: s/ck to products formulated speciﬁcally for combina/on skin. Don’t use abrasive cosme/c tools over the en/re face. WWW.THISISMINK.COM

Skin Care: Skin Type Sensi>ve skin A nega/ve reac/on to outside factors, like wind, sun overexposure, allergies to certain products, overzealous scrubbing. Maintenance goal is to be as gentle as possible with skin •  Drawback: easily irritated, o\en red and blotchy •  Treatment: use a thin cleansing lo/on that’s hyper allergenic, allergy-‐tested, or fragrance-‐free •  Most popular natural ingredients include: Moisturisers; olive oil, shea buher, avocado oil, honey, milk, Skin-‐soothers; aloe vera, lavender, chamomile, geranium, green tea, Oil ﬁghters; tea tree oil, citrus, ylang-‐ylang, rosemary. WWW.THISISMINK.COM

Skin Care: Skin Type Hyper pigmented skin Common among black, La/na and Middle Eastern women. Hyper pigmenta/on is a darkening of the skin in patches or all over and is most o\en caused when skin has undergone some trauma that causes inﬂamma/on (acne, burns, chemical peels, laser treatments, sun overexposure) •  Drawback: fading process can take months or even years •  Treatment: best cleansers are those that exfoliate. Avoid cleaners that contain manual exfoliators like micro beads, salts, ground nuts as they can cause irrita/on which leads to more dark spots. Instead look for those containing glycolic acid, which do the job gently.

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Skin Care: Skin Type Normal skin Skin always feels and looks supple with or without moisturiser •  Beneﬁt: few or no breakouts, can apply almost any product without irrita/on, skin tone is even without any darker or lighter areas •  Drawback: – None! •  Treatment: – Go for an SPF-‐infused cream cleanser or a pack of disposable cleansing cloths for normal skin. Make sure cleanser leaves skin feeling supple, not /ght. WWW.THISISMINK.COM

Skin Care: Cleansing rou/ne •  Secure models hair away from face with headband or sec/oning clips •  Apply eye makeup remover with damp cohon wool •  Remove any lips/ck with small amount of cleanser using damp cohon wool •  Apply dots of cleanser over en/re face. Work from neck upwards. Use light pressure around eyes •  Remove cleanser with /ssues, damp cohon wool or sponges •  Blot the face with the /ssue folded in a triangle. Pat gently with the hand. WWW.THISISMINK.COM

Skin Care •  As a makeup ar/st you should ensure you are up to date with new skin care products on the market •  Try out products from a vast number of ranges un/l you ﬁnd a selec/on that you would like to include in your kit •  It may be imprac/cal to carry a number of products for each of the individual skin types; you may prefer to choose products that are suitable for use on a range of skin types. WWW.THISISMINK.COM

Colour theory

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Colour theory

•  As a makeup ar/st it is important to understand the principles of colour theory •  There are three basic colours – red, yellow and blue. All other colours are combina/ons of these three •  Mixing all three primary colours together in equal quan//es will create a neutral colour, resembling very dark grey •  If you change the propor/on of each primary colour in the mix, a variety of neutral tones can be achieved •  Mixing equal amounts of two of the primary colours creates the secondary colours e.g. Yellow + blue = green •  Ter/ary colours are achieved by mixing a secondary colour and a primary colour in equal amounts e.g. Blue-‐ violet, yellow-‐green. WWW.THISISMINK.COM 70

Colour theory •  Quaternary colours, a series of three dis/nct tones of brown, are created by mixing two secondary colours together o  Orange + violet = russet brown o  Orange + green = sallow brown o  Green + violet = olive brown

•  A secondary colour is always directly opposite a primary colour. These opposite colours are said to complement each other •  When mixed in equal quan//es complementary colours will neutralise each other crea/ng a greyish, neutral tone. WWW.THISISMINK.COM

Colour theory A ruddy complexion with lots of red undertones can be neutralised by applying a thick layer of pale green colour correc/ng product A heavy beard shadow that appears bluish can be camouﬂaged with an orange-‐ toned product A sallow complexion (lots of yellow tones) can be enhanced by a lilac colour-‐correc/ng base. However, too much coverage in all these cases would produce an unahrac/ve grey-‐toned complexion. WWW.THISISMINK.COM

Colour theory •  Colours advance and recede -‐ Bright colours advance and make the area covered appear larger. Dull and dark colours recede and make the area covered appear smaller •  Colours reflect other colours – Some colours tend to reflect back more colour than they take away e.g. A red scarf near a ruddy complexion will make the face appear redder, shadows tend to reflect the colour of the object causing the shadow •  Colour will steal colour -‐ Bright blue placed beside light or pale blue will make the pale colour appear less colourful e.g. A person with blue eyes can intensify the eye colour by wearing a lighter blue than the blue eye colour. A darker blue worn near the face would make the eye colour appear lighter in contrast. WWW.THISISMINK.COM

Colour theory •  Colour has temperature -‐ Colours are classified as warm or cool. Cold colours tend to make objects appear to be further away whereas hot colours bring objects forward •  Colour reacts with other colour -‐ Individual hues are also affected by the colours that surround them. For example, if you place a greyish colour against a violet background, the grey will have a slightly yellow tone; if you put grey against a green background, it will look slightly red •  Colours are affected by light -‐ Colour will also be affected by the light it is seen in. Daylight gives off a bluish tone, tungsten ar/ficial ligh/ng gives off a yellow tone and fluorescent gives off a green /nge.

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Colour theory: Ligh/ng •  Light is measured in degrees kelvin (K), which relates to the temperature of its colour. Light with higher kelvin ra/ngs produces a bluish cast; light with lower ra/ngs produces a red-‐orange cast •  Daylight bulbs are ﬂuorescent ligh/ng, but should be chosen carefully as there are a number of varie/es of ﬂuorescent bulbs •  Those with a CRI (colour rendering index) of 100, are the closest to daylight •  Makeup not applied under the correct ligh/ng condi/ons may look heavy and too warm or washed out and cool in colour temperature •  It is important that the makeup room is adequately lit. WWW.THISISMINK.COM

2 Mastering Faces

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Mastering Faces A.

Face

Founda/on

Concealer

Contouring and highligh/ng

Powder

Blusher

Bronzer and self-‐tanner

Face

•  Makeup is all about the founda/on! •  The right founda/on will make your model look like they’re not wearing any founda/on at all •  Founda/on –  Protects against bacteria and impuri/es –  Evens out skin tone –  Improves skin texture for a ﬂawless, smooth ﬁnish; blushers and other makeup glide on easier and cling beher to founda/on –  Kills or decreases sallow skin (a greenish-‐yellowish or ashy cast) –  Creates a natural-‐looking healthy glow to the skin

•  When choosing founda/on the following should be taken into account, colour, texture and coverage.

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B Founda/on -‐ Types Founda>on Skin Type Type

Texture and Coverage

Liquid (oil in Normal water) Combina/on Oil free, medicated mah founda/ons are available for oily or greasy skin

Light, fine coverage, Shorter working /me normally with semi-‐ on skin than cream mah finish, providing founda/ons perfect ‘flesh impact’ (skin looks natural and healthy in pictures or on screen)

Cream Suitable for most (water in oil) skin types, but give dry skins extra moisture and nourishment

Medium coverage. Thick with glossy texture, providing good ‘ﬂesh impact’

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Notes

Available in ‘s/ck’ or compact form. Long working /me on the skin, excellent colour stability and very durable when applied and set properly 79

Founda/on -‐ Types Founda>on Skin Type Type

Texture and Coverage

Notes

Two-‐in-‐one founda/on and powder products

Oily skins because of high powder content. Also a good choice for very dark skin tones

Medium to heavy coverage with a drier texture, providing a mah ﬁnish

Essen/ally a form of tradi/onal cake makeup. Very durable on the skin

Tinted gels

Young unblemished Very light sheer skins or men. Can cover cause dryness on sensi/ve skins

Tinted All skin types moisturisers Unblemished, clear skin

Light coverage providing a very sheer natural ﬁnish

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Useful for adding enhancement and gleam to a tanned skin. Short working /me Par/cularly useful for when a very natural eﬀect is required

Founda/on -‐ Types Founda>on Skin Type Type

Texture and Coverage

Mousses

All skin, but par/cularly those that require lihle coverage

Light coverage providing a Supplied in an aerosol very sheer natural ﬁnish can, allowing the product to be dispensed as a ﬁne foam, which is easily blended onto the skin

Airbrush products

All skin

Coverage depends on applica/on technique, but can be sheer or applied to provide more coverage

Camouﬂage All skin cover creams

Notes

Very liquid so products can be applied with a airbrush

Provide excellent opaque Water resistant when coverage, without the set properly look of a heavy applica/on

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Founda/on -‐ Choosing the right founda/on Texture •  Hyper pigmented skin or acne scars: S/ck or cream founda/on •  Minor spots: Full coverage liquid founda/on or a cream-‐ to-‐powder •  Good skin but want extra polish: Sheer liquid founda/on or a /nted moisturiser •  Oily or acne prone skin: Oil control liquid founda/on •  Combina/on skin: a balancing liquid founda/on which makes the T-‐zone mahe and hydrates drier areas •  Fake a radiant glow: iridescent, illumina/ng liquids or s/cks. Dot and blend along cheekbones, bridge of nose, forehead and chin. WWW.THISISMINK.COM

Founda/on -‐ Choosing the right founda/on Colour •  There are 39 recognised colours of black skin. White skin has around 10 colours •  Skin colour is determined by three factors: carotene, melanin and hemoglobin. Carotene gives a yellowish /nge to skin; Melanin lends a brown colour and Hemoglobin contributes a reddish hue •  The tone and undertone to skin is based on the amount of carotene and melanin in the epidermis •  All makeup is created to complement the undertone as well as the surface tone •  Most skin tones tend to be enhanced by the applica/on of a yellow rather than pink-‐/nted founda/on. WWW.THISISMINK.COM

Founda/on–Choosing the right founda/on •  Step 1 – Pick three shades to try: one that looks about right, a lighter colour and a slightly darker colour •  Step 2 – Swipe each colour on the jaw line •  Step 3 – The shade that disappears or perfectly matches the skin is the correct choice of founda/on Tip: Do not ignore the rest of the client’s body, the face isn’t a separate en/ty. Compare the shades to the client’s neck. Does it match? WWW.THISISMINK.COM

Founda/on -‐ Applica/on •  It is some/mes necessary to mix two or more founda/ons together to get the correct shade •  Use a small clean palehe with a spatula instead of the back of your hand to mix the founda/on •  Dark-‐skinned women should rarely wear all one colour. Most are usually lighter in the centre of the face and darker around the perimeter •  To apply founda/on use a slightly damp sponge (wet a sponge and wring it out in a /ssue to remove excess moisture), a founda/on brush or sani/sed ﬁngers •  Apply carefully, with one stroke overlapping the other in one direc/on to produce a smooth, even applica/on.

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Founda/on -‐ Applica/on •  If applying founda/on with a sponge then press the founda/on into moisturised skin •  Blend the founda/on towards the edges of the face and under (not forgeRng under the chin), con/nuing down the neck if required •  Using a brush will allow easier access to small areas e.g. around the eye socket and nostrils •  Blend gently and carefully, especially around the hairline, eyes, nose and mouth •  Do not drag or rub at the skin •  Always work in the same rou/ne e.g. Centre, forehead, sides and neck, ﬁnishing with a downward stroke over areas covered with ﬁne, downy hair. WWW.THISISMINK.COM

Founda/on -‐ Applica/on •  Do not forget to cover the ears, eyelids and the outer edge of the lips as this will help to keep eye shadow and lips/ck in place •  On mature skins where wrinkles are present, it is useful to use your sani/sed finger/ps in a tapping mo/on over the founda/on applica/on. This helps to prevent the makeup from sehling in the wrinkles and accentua/ng them •  If any minor imperfec/ons or discoloura/on show through, apply another layer of founda/on (a brush and finger-‐tapping mo/on is useful for this) •  The finished applica/on should always be light, even and perfectly blended. WWW.THISISMINK.COM

Founda/on -‐ Applica/on •  Founda/on does not have to be applied over the en/re face, but can be applied only to the areas that require coverage, leaving the rest of the skin with a simple applica/on of moisturiser or primer •  A primer will even out skin tone, help makeup stay on longer and absorb oil with salicylic acid •  Makeup should be le\ to sehle on the skin before it is photographed. This allows the applica/on to “become one” with the skin, improving ‘ﬂesh impact on the camera. WWW.THISISMINK.COM

C Concealer •  Concealer is the one product that, when chosen and applied correctly, can instantly li\ and brighten the face •  Use concealer for dark under eye circles and imperfec/ons that cannot be covered by founda/on alone •  Concealers are solid, thick prepara/ons giving excellent coverage and are available in liquid, pencil, s/ck or compact form •  It can be applied before or a\er founda/on to cover blemishes, scars, uneven pigmenta/on and shadows •  Concealer should be one or two shades lighter than the founda/on. WWW.THISISMINK.COM

Concealer •  Dark spots and patches: dense concealer is required. With a wedge sponge, apply over the dark spots with a paRng-‐rolling mo/on. Then blend on a founda/on shade that’s lighter than the skin but darker than the concealed spot •  Pimples: There are a bunch of salicylic acid-‐infused concealing s/cks and creams on the market for acne suﬀerers •  Small blemishes and facial marks: can be hidden with the applica/on of a lihle concealer the same colour as the founda/on •  Heavy beard line: use an orange toned concealer prior to the applica/on of founda/on. WWW.THISISMINK.COM 90

Concealer •  Shadows at the corners of the mouth: lighten using concealer one to two shades lighter than the founda/on (or orange-‐toned) •  Freckles: not generally considered a problem. Opt for a founda/on with a medium to heavy coverage and choose a colour that is slightly darker than the natural skin tone and slightly lighter than the freckles themselves •  Blend applica/on un/l its edges are completely blended with the founda/on •  To set the concealer, apply some translucent powder using a powder puﬀ. WWW.THISISMINK.COM

Concealer •  •  •  •  •

Keep it light if working around the eye area and brush away any excess SeRng the concealer with powder between applica/ons is very important; otherwise the layers of colour will slide and merge into one thick coa/ng To warm up concealer, swipe some on the back of your hand. Then use a /ny brush to pick up the concealer and apply – it’ll blend like a dream Try a wand concealer on fair skins. It has the sheerest formula and won’t overpower the skin tone Only a small amount is needed as lihle goes a long way. WWW.THISISMINK.COM

Colour Correc/on •  In addi/on to the concealer, you may also need to use colour correc/ve products to correct discoloura/on in the skin tone •  Colour correc/on is based on complementary colour theory. When complementary colours are overlaid, they neutralise each other •  Correctors brighten the darkest areas under the eyes, allowing concealers to both lighten and blend. Problem

Colour correc>ve concealer

Redness in the skin tone, blotches

Green

A dull, sallow complexion

Lilac

Blue discoloura/on, e.g. Heavy beard line, shadows on a dark skin tone

Orange

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Contouring & highligh/ng

•  Contouring techniques are employed to balance the face shape and to enhance features •  Contouring makeup means using the art of chiaroscuro (pain/ng with light and shade) to create the illusion of reshaping and sculp/ng the face and features •  When applying shadows and highlights to the skin it is important to ensure there is a signiﬁcant tonal diﬀerence between them and the base colour, otherwise they will be lost. WWW.THISISMINK.COM

Shading •  Shading is the blending of a makeup shade darker than the founda/on or skin tone in order to diminish a feature •  A large nose could be shaded at the sides to make it appear thinner •  A double chin could be made less obvious by shading underneath the jaw line •  Generally a correct colour selec/on will involve shi\ing two or three shades down the tonal range of the founda/on or skin tone, ensuring that you remain within the correct underlying skin colour •  Bronzers or /nted powders can make useful shaders. WWW.THISISMINK.COM

Shading Common areas for shader applica/on: •  Hollows under the cheekbone •  Just below the inner corner of the eyebrow •  Cleavage •  Under the chin •  Socket line of the eye •  Hairline •  Sides and /p of the nose •  Temples •  Hollows of the collarbone. WWW.THISISMINK.COM

Highligh/ng •  Highligh/ng is the blending of a makeup shade lighter than the founda/on in order to accentuate a feature or facial plane •  A correct colour selec/on will involve shi\ing approximately three shades up the tonal range of the founda/on or skin tone, ensuring that you remain with the correct underlying skin colour •  As with shading the applica/on will require careful blending •  Iridescent powders can be useful highlighters. WWW.THISISMINK.COM

Highligh/ng Common areas for highlight applica/on are: •  Brow bone •  Centre of the eyelid •  Centre of the forehead down through the bridge of the nose •  Cheekbone plane •  Centre of the chin •  Collarbone •  Top of the breast. WWW.THISISMINK.COM

E Powder To increase the longevity of the makeup applica/on

To set cream makeup

Func/ons of powder

To reduce shine

To add shimmer or sheen to the skin (iridescent powders) WWW.THISISMINK.COM

Powder •  •  •  •  •  •  •  •

A light dus/ng of powder sets concealer and founda/on for hours, keeping the skin looking fresh There are two types of powders; loose and pressed Powders are available as follows: Translucent powder allows founda/on to show through Colourless powder without pigment and looks white Tinted powders should match colour of founda/on Bronzing powder lightly used to give a healthy, sun-‐ kissed glow Iridescent powder creates a shimmery complexion. WWW.THISISMINK.COM

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Powder -‐ Applica/on •  Tissue off founda>on before segng with powder •  Place a small amount of powder into a /ssue •  Using a clan velour powder puff or firm synthe/c makeup wedge press lightly on the base with a rocking mo/on covering the en/re face. WWW.THISISMINK.COM

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Powder -‐ Applica/on •  •  •  •

Remove excess powder with a powder brush If the skin is mature, gently stretch the surface as you apply the powder to ensure it reaches the creases To restore a natural sheen to the skin, lightly mist with water, using a ﬁne spray or atomiser A\er an applica/on of concealer, founda/on and powder, step back and observe what you have done –  –  –  –

Ashy, warm up the powder colour and/or add bronzer Orange, is the skin oily? Did it change? Switch to paler powder and wait to check the results Flaky, the skin is too dry Cakey, make sure you have enough moisturiser on the skin. Its also possible to have too much. The founda/on-‐to-‐moisturiser ra/on may be giving the powder too much grab. WWW.THISISMINK.COM

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F Blushers •  Blusher warms and brightens the skin complexion •  Blush can also be used to create the drama/c contouring some/mes seen in fashion shows and the theatre •  Placement is very important and colour should be built up in layers for a natural glow to the skin •  Use two shades of blush, apply your natural colour and then add a pop of colour on top •  This layering technique oﬀers natural brightness •  The natural shade looks great at ﬁrst but o\en fades easily •  The brighter shade alone is o\en great for evening, but too much of a contrast for everyday. WWW.THISISMINK.COM

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Blushers •  Powder is the easiest formula to use. It blends easily and works on all skin types •  Gel delivers sheer colour, but blending is a bit more difficult •  Cream goes on smoothly and leaves a dewy finish •  Cream/Powder goes on as cream and dries to a long-‐ las/ng powder finish •  Chubby pencils are very portable and easy to blend •  Cheek Tints are similar to gels. They go on sheer for a stained look and can be difficult to blend. Tints work only for smooth skin •  Pot Rouge creamy in texture suitable for normal and dry skin. They provide a sheer stain on the cheeks and medium coverage on lips. WWW.THISISMINK.COM

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Blushers •  Get your subject to smile and apply the product to the apple of the cheeks •  Blend toward the hairline, then down to so\en the edges •  Blend thoroughly, keeping the most product on the highest part of the cheekbones •  Step back and consider the results. The face should look absolutely natural and balanced. A powder puﬀ or ﬁngers can be used to so\en and correct a heavy applica/on. WWW.THISISMINK.COM

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G Bronzer & Self-‐Tanner •  Bronzers and self-‐tanners imitate the healthy look of the sun. They are also used as correctors to warm up the skin •  Applying bronzer is a great way to add a healthy glow all over the face and to even out colour diﬀerences, especially through the neck •  Bronzers work on all skin tones except porcelain because bronzer can make porcelain look dirty •  Bronzer works as a blush for very dark skin •  On all other skin, blush should be used over bronzer to add a pop of bright colour •  Self tanners can be used on the face and body to add colour and hide ﬂaws. WWW.THISISMINK.COM

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3 Mastering Eyes

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3. Mastering Eyes Started A. Proper eye care B.

Eyebrows

Eye shapes

Eye Shadow

Eyeliner

Eyelashes

Smoky Eyes

Proper Eye Care

•  Using a gentle and effective eye makeup remover is vital •  Use oil-free eye makeup removers •  Apply remover to a cotton pad and press gently onto closed eyelids •  Let the product soak into the skin, then gently swipe the cotton pad over the eyelids •  Start from the inner corner and work you way to the outer corner of the eye •  Repeat as necessary using clean cotton pads •  Use cotton swaps for the hard-to-reach areas, such as under the eyes, along lash line and the inner corners

•  Sharpen all eye pencils to remove any remnants of use eyeliner from previous use. WWW.THISISMINK.COM

Proper Eye Care Eyes are sensitive and prone to infection. A few simple precautions will help guard against any problems: •  Only use cosmetics and skin care products that are designed for the eyes •  Avoid touching eyes with hands and wash hands often •  Keep all cosmetics clean and replace caps whenever possible •  Don’t double-dip disposable mascara wands •  For twist pencils, break off the tip or roll on clean tissues until several of the outer layers have been removed •  Use a cotton swab, disposable sponge or facial tissue to wipe off the top layer. WWW.THISISMINK.COM

Eyebrows

Anatomy of an eyebrow

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Eyebrows •  The one feature that can be altered most dramatically are the eyebrows. Even a subtle shape change in definition can alter the mood of the face •  A pair of perfectly shaped eyebrows can do more for your face than almost any cosmetic •  By correctly shaping and colouring eye brows, eyes can appear larger and the face slimmer and more shapely •  A good set of brows will draw attention to the eyes. WWW.THISISMINK.COM

Eyebrows The five basic brows •  Round: Soften the face, literally adding roundness and helping to tone down sharp features, such as a pointed chin •  Angled: The high, sharp peak draws onlookers’ eyes upward, giving a youthful appearance •  Soft angled: Similar to above but with a softer and subtler peak, giving the face a more feminine look •  Curved: This flattering shape projects a feeling of confidence and professionalism •  Flat: Perfect for those with long faces. The horizontal lines of this brow make the face appear shorter. WWW.THISISMINK.COM

Eyebrows - Find face shape Round Face •  Best Brow: Angled with a high arch and a short tail. This shape makes the face look longer and slimmer. But don’t angle the brow too steeply or it will look misplaced and just draw attention to the roundness of the face •  Worst Brow: Round, a shape that echoes the shape of the face and makes it appear even rounder Long Face •  Best Brow: Flat and horizontal, which makes the eye look side to side rather than up and down, making the face appear more oval •  Worst Brow: An angled brow with a high arch and a short tail will exaggerate the length of the face. WWW.THISISMINK.COM

Eyebrows - Find face shape Square Face •  Best Brow: Angled with a sharp peak or curved with a sharp peak to focus attention away from a square jaw and balance the face •  Worst Brow: There is no brow shape that will make the jaw look more square. But a delicate, rounded shape won’t balance a strong jaw Heart-Shaped Face •  Best Brow: Rounded to “soften” the point of the chin •  Worst Brow: A flat, horizontal brow, which does nothing to counterbalance the point of the chin. The result: The whole equilibrium of the face is thrown off. WWW.THISISMINK.COM

Eyebrows - Find face shape Diamond-Shaped Face •  Best Brow: An angled brow or a curved brow with a peak will “narrow” wide cheekbones and temple and give the face another focal point. A round brow is another good choice •  Worst Brow: A flat brow will make this face shape appear unflatteringly short, this brow also makes the face appear even wider Oval Face •  Best Brow: Any shape that enhances. Since the face is already oval, brows play no role in making it appear more so •  Worst Brow: One that’s not groomed properly – or at all, or a brow that’s too highly arched, giving the face a look of perpetual surprise. WWW.THISISMINK.COM

How to deal with Strong features •  The face shape isn’t the only factor in determining the best brow shape. Features, especially the strong ones also come into play •  A strong feature simply needs to be counteracted by another strong feature in order to make the face look balanced •  To determine which features need “brow balancing” it helps to do an overall feature assessment. WWW.THISISMINK.COM

How to deal with Strong features Large Eyes •  Big eyes are certainly a big beauty asset. But they definitely need strong brows to accompany them. If brows are light and delicate, the eyes can look too large and take over the face •  Make brows appear stronger, deepen the colour and add thickness, perhaps below the brow line, since the closer brows are to the eyes, the stronger they will appear •  You can help brows do their job further by adding a vibrant lip colour. This will further balance the face with a strong feature at the bottom. WWW.THISISMINK.COM

How to deal with Strong features Almond Eyes •  The cat-like beauty of this eye shape can be emphasized with the right brow •  A rounded brow will make the eyes look rounder, an angled brow will draw attention to the upper part of the face and emphasize the lovely shape of the eye •  Asian women with almond eyes often have other delicate features as well, and care must be taken that the brow doesn’t overpower them. Thin brows can be a strong black, but if the brows are thicker, you might want to try a slightly lighter shade to balance delicate features. WWW.THISISMINK.COM

How to deal with Strong features Prominent Nose •  If the nose is the focus of a face, you can use the brows to divert that attention •  A highly arched brows literally point away from the nose. Add to this effect by making brows deeply coloured and thick. This helps balance the face and makes the eyes more prominent •  For example, Barbara Streisand certainly has a large nose, but her strong, angled brows draw attention up and away from it. WWW.THISISMINK.COM

How to deal with Strong features High cheekbones •  Although professional models come in all different face shapes, they do seem to have one feature in common: cheekbones to die for •  High cheekbones add a beautiful, slimming angularity to any face. Of course you can fake them with blush, but if your customer has them, we say flaunt them •  Surprisingly one of the best ways to do that is with a brow that echoes their shape with a high angled arch and a tail that points down to draw attention to those cheeks. WWW.THISISMINK.COM

How to deal with Strong features Pointed Chin or Large Lips •  These features both have the same effect: They draw attention away from the eyes and toward the lower part of the face. Again, balance is the goal and its easy to accomplish with the right set of brows •  Rounded eyebrows can provide a soft contrast to a pointed chin, and to balance large lips as well •  The goal is to achieve a balance with the face shape and features. Strong, prominent features call for a strong brow. Delicate features call for a light brow. WWW.THISISMINK.COM

Eyebrows – in relation to eyes Close-set eyes •  Begin eyebrows slightly inside the inner corner of the eye. This will give the illusion of begin further apart, creating more symmetry to the face Wide-set eyes •  Begin eyebrows slightly closer to the bridge of the nose. This give the illusion that the eyes are closer together. WWW.THISISMINK.COM

Determine best brow strength There are three things that affect brow strength: •  Proximity to the eye: The closer the brow is to the eye, the stronger it will appear •  Thickness: The thicker the brow, the stronger it will appear •  Colour: The darker the brow, the stronger it will appear •  Give your client some time to get used to the new shape/colour before deciding it’s not for them. WWW.THISISMINK.COM

Common Eyebrow Myths •  Myth #1: Your eyebrow shape has to follow your natural brow line. What’s important is to find the shape that’s most flattering •  Myth #2: Your eyebrows are the frame for your face. A frame doesn’t have the ability to make or break a piece of art the way brows do. Brows are an important feature •  Myth #3: You should never pluck the hairs above your brows. Why would you want to be hair-free below you brow but not above it? •  Myth #4: Using makeup to enlarge or change the shape of your brows will make them look too fake. If you use a light hand, it’s easy to use brow powder and pencil to create a totally natural-looking brow. WWW.THISISMINK.COM

Eyebrows – Tools of the trade A brow brush or comb A white pencil Eyebrow stencils (optional) Eyebrow pencil Eyebrow powder Tweezers Nail scissors (good for trimming those hairs that extend beyond the outline of the brow) •  Brow control substances e.g. Brow gel. •  •  •  •  •  •  •

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Cool Tip

Use a brow brush to soften any hard lines made from brow products.

Asian brows tend to be sparse at the ends of the brows so make sure to pay attention there. If some hairs are questionable to tweeze, move hairs around to see what removing them would do, then tweeze.

Cool Tip

Start the beginning of brows with a colour a shade or two lighter than the tail of the brow. This creates a softer looking brow. WWW.THISISMINK.COM Â

To minimize the possibility of over plucking, always step away and look at the brows in a mirror to get the overall perspective.

Eye shapes

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Eye shapes •  Upturned eyes –  To create balance apply shadow along the lower lash line, concentrating on the lower outer corner to help balance the eye and bring it down

•  Downturned Eyes –  Can look sweet and innocent. To break away from this delicate look, apply eyeliner on the outer corners at a 45 degree angle to add lift

•  Hooded lids –  Hooded lids droop over the eye crease, pushing the eyelashes down over the eye. When applying eye shadow add a contour colour slightly above the hooded lid to create the illusion of depth and to draw the eyes up. Apply a thicker application of eye liner using a stay put cream or gel eyeliner focusing on the outer corners of the eyes. WWW.THISISMINK.COM

Eye shadow

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Eye shadow •  Professional eye makeup is a result of meticulous application and careful build up of colour. For each look the following should be considered. Considera/ons for eye makeup Colour

Texture

Shape

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Finish

Eye shadow Powder-based •  Available in loose or compact form •  Made from same ingredients as face powder •  Loose powders are easier to use if they are mixed with a setting liquid or pressed into a cream base •  The best shadows contain a high pigment content that will not lose its depth of colour •  Powder-based shadows are ideal for most types because they can be controlled easily and they appear to be softer, silkier and smoother on skin. WWW.THISISMINK.COM

Eye shadow Cream-based •  Available in liquid, stick or compact form •  Since they contain water-in-oil they are good for dry skins and blend into the skin easily •  They are applied after foundation and then set with a light film of face powder to help prevent creasing •  Apply cream eye shadow base or base powder colour to hold the colour on the eyelid •  Apply cream shadow across the whole lid to three quarters of the way up •  Make sure you apply shadow high enough on the lid and layer a second coat to be sure its dense enough •  Check how the shadow looks. Add more as needed. WWW.THISISMINK.COM

Eye shadow Eye shadow finishes •  Frosted or metallic – effect varies from a subtle shimmer to a dramatic metallic effect •  Matte – creating reliable results on camera, matte eye shadows remain a popular choice for makeup artists. Darker shades absorb the light and are useful for creating depth. They give the most natural finish •  Glossy – Generally used for high fashion images. Requires a lot of maintenance as after a while the gloss tends to slide and crease. WWW.THISISMINK.COM

Eye shadow •  The natural skin tone, eye, hair colour and wardrobe can all act as indicators for choosing eye shadow colours •  Eye shadows need not match the eyes: in fact they often look more effective if they contrast with the eyes •  Try golds and coppers around blue eyes to make them look bluer •  Enhance brown eyes with greens, violet and gold •  People with brown eyes have more choices of colour than other iris colours since brown is neutral. Brown eyes can be made to appear lighter by playing off the hints of gold and bronze found in most brown eyes •  Wrapping eye shadow colour in the palest colour of the iris around the entire eye can give the illusion of brighter WWW.THISISMINK.COM coloured eyes.

Eye shadow for every eye colour •  Blue eyes – there are several variations of blue eyes ranging from pale to deep blue. Blue eyes wrapped with cool grey shadow appear to look grey. Pulling pale greys and silvers from the iris into makeup colours will intensify the eye’s lightness and wrapping the eye with black liner will create intensity •  Green eyes – Green irises can often appear blue depending on what colours are paired with them. Choosing a pale green around the eyes will intensify the lightness of the eye colour •  Hazel eyes – Try pulling pale greens and gold from the iris to make the eyes appear lighter and show off their colours •  There are no rules when choosing eye shadow colour but think back to the colour theory. WWW.THISISMINK.COM

Eye Colour Chart Fornay, Alfred. 2002. The African American Woman’s guide to successful makeup and skincare

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Eyeliner

•  Eyeliner is the ultimate way to define and enhance the eyes. Liner can also be used to improve the shape of the eyes •  Its application needs to be generous enough to be visible when the eyes are open •  You can achieve a beautiful, defined look using liner only on the top lash line •  If using liner on both top and bottom lash lines, it is important to keep the top thicker than the bottom •  Dark circles look darker when liner is applied on the lower lash line. Bring concealer up to the lash line, and consider using only mascara on the lower lashes.

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Eyeliner •  Make eyes look more intense by double lining. Use dark shadow with a dry eyeliner brush, then repeat with a liquid liner or wet brush using a slightly thinner line. The technique can also be reversed – gel can be softened with shadow •  Pencils are easy to use but are not long lasting and can smear. Layering powder shadow on top will help it stay on longer •  Gel, Liquid & Cake liners are the longest lasting. Mastering the techniques for using them will be worthwhile. WWW.THISISMINK.COM

Eyeliner •  Do apply liner as close as possible to the lash line, making sure there is no gap. This has the added benefit of making the lashes look fuller and lush •  Do apply liner thinnest at the inner corner of the eye, and thicken it as you move outward. This accentuates the eye’s shape and gives them a lift •  Do line all the way across the lids! You can line just the top and not the bottom, but don’t line either lid halfway •  Do make the top and bottom lines of liner meet at the inside and outside corners to make the eyes appear larger. Not connecting the lines makes the eyelids appear too round and small. WWW.THISISMINK.COM

Eyeliner •  Lining inside the rim actually makes the eyes appear smaller •  Using a white eye pencil on the inside rims of the eyes can make them look bigger •  To apply, gently pull the lid away from the eye and draw a line along the upper and lower inner eye rim •  Use kohl with caution. Stringent hygienic precautions are essential for this procedure. Always gain permission from the model before proceeding. WWW.THISISMINK.COM

Eyelashes

•  Lashes open up and emphasise the eyes •  Most lashes are transformed with a sweep of mascara and the use of an eyelash curler •  Black mascara should always be your first choice •  Product choices include mascara, curlers and false eyelashes. WWW.THISISMINK.COM

Mascara •  The purpose of mascara is to build up your lashes •  Mascara makes lashes look longer, thicker and more smouldering •  Apply mascara using a disposable mascara wand •  Ask the model to look down. Gently lift the eyebrow at the outer corner with your free hand. As you do this, the hairs of the lashes will separate •  Apply the mascara over the top of the upper lashes from the roots to the tips •  When this is dry, add a second layer, this time upwards and outwards from under the upper lashes. This will help to lift the lashes. WWW.THISISMINK.COM

Mascara •  Hint: mascara lower lashes first to save time! The alternative is to wait until the top lashes are completely dry before attempting to mascara lower lashes, otherwise you will end up with dots of mascara across the eye makeup •  Ask model to look upwards away from the applicator. Make sure the model is not looking directly into a strong light or the eye may water •  Mascara on the bottom lashes should be used sparingly; clients with naturally dark lashes may not require it at all here •  Use an eyelash comb to separate the eyelashes and remove any lumps. WWW.THISISMINK.COM

Mascara •  When loading the mascara wand with product do not pump the wand in and out of the barrel as this will introduce air into the product and cause it to dry out quickly Contact lenses •  The makeup artist must be careful not to let any debris from the makeup get into the eye •  Some models are happier removing their contact lenses before makeup application, others prefer to leave them in place •  Ask the client to keep their eyes closed when applying powder products and avoid using lash lengthening mascaras containing filaments which may irritate. WWW.THISISMINK.COM

Curling eyelashes •  Start with clean lashes •  Ask the client to look straight ahead •  With the eyelash curlers opened, place near to the base of the top lashes and squeeze together and hold for five to ten seconds •  Continue to move along the lash towards the tips, squeezing as you go •  Care must be taken not to pinch the client •  Use mascara immediately afterwards to ‘set in’ the curl •  You can also curl lashes by gently pressing them up with your fingers as the mascara dries. WWW.THISISMINK.COM

False Eyelashes •  False eyelashes are used to create a more dramatic looking eye and for special effects •  Different types –  Lower lashes –  Individual lashes –  Single lashes –  Three-quarter strip lashes –  Corner lashes

•  Eyelash glue comes in white, clear and black •  DO NOT USE NORMAL HAIR GLUE!!!! •  Carry-out a patch test before applying lashes to determine hyper sensitivity to the glue. WWW.THISISMINK.COM

Smoky Eye

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Smoky Eye •  Smoky eye is a dreamy look, making it appear as if the wearer has a 3-dimensional cloud of colour around the eyes •  Darker colours work best for smoky eyes e.g. greys, browns, dusty mauve, purples, deep greens, navy blue, charcoal etc •  Smoky eyes always need at least 2 colours •  The key to making a smoky eye work is by understanding the gradation from dark to light: the darkest shade goes closest to the lash line and the colour gets lighter and lighter as you move away •  The second colour is a lighter version of the first. WWW.THISISMINK.COM

Smoky Eye •  Prime the eye area with an all-over white or beige base that will allow the darker colours to blend •  Apply a slightly darker shadow on the lower lid, from the lash line up to the crease and use a deeper one in the same colour family layered on top •  This technique can also be used to line the lower lashes, keeping the application lighter and balanced with the upper eye •  Apply a double layer of liner, first using a dry brush and then a gel or pencil •  Extend the liner slightly beyond the outer corners of the eyes •  Then reapply the liner a bit heavier and repeat as required •  Always add multiple coats of mascara. Smudge and WWW.THISISMINK.COM blend.

“The Cookie Cutter” SAM FINE technique •  Draw a line with a flat brush (for precision) and a matte eye shadow, start at the outer corner of the eye lid and gradually take it up just above the crease to open up the eye and add dimension •  Blend line outwards towards the brows and then fill the part below the line with a light coloured shimmery shadow. WWW.THISISMINK.COM

4 Mastering Lips

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Mastering Lips A.

Lips

Products

Colour and applica/on

Changing the natural lip line

Lip styles

Lips

•  Applying lip colour is one of the simplest of all makeup steps and is a great way to instantly change a look •  Lip colour will enhance the lips and complete the makeup by adding harmony and balance •  The right shade works with the skin tone and complements the natural colour of the lips. Lip colour finish

Description

Matte

A sophisticated finish. Look for a creamy matt texture as some matte formulas are very dry

Sheer

Lets the natural colour show through. A transparent stain

Glossy

Very versatile. Can look sexy or very natural, depending on colour. Can create appearance of fuller lips

Frosted

Dramatic and three-dimensional WWW.THISISMINK.COM

Products

•  Lip Balm: Use before any lip colour application to create a smoother surface •  Matte Lipsticks: Usually more opaque and dry •  Cream Lipsticks: great for those who have dry lips as they add moisture without adding to much shine •  Sheer Lipsticks: choice for natural looks. Usually very creamy in texture, they are more transparent than cream lipsticks •  Lip Gloss: creates an instant sexy vibe •  Dual lip pencil: one end of the pencil is a liner and the other end is a creamy lipstick. WWW.THISISMINK.COM

Products •  Lip Liner: Multi purpose tool that you can use to create a wide range of looks. Also a must to minimize bleeding •  Lip primers - help maintain lipstick to last longer. They also prevent feathering and make lips appear smoother. Most lip primers also condition and soften your lips. They are worn as a base underneath lip colour. WWW.THISISMINK.COM

Colour and application

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Colour and application •  The perfect neutral shade – pinky brown, nude, beige pink, rosy brown, pink, chocolate or blackberry – will generally be close in tone to the natural lip colour •  Once you have identified the right neutral or everyday shade of lip colour, you have the basis for selecting more dramatic colours. Brown, Bobbi. 2008. Makeup Manual. London: Headline publishing group

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Colour and application •  Prior to applying lipstick you could use a lip liner to give the lips a neatly defined edge •  Cover the edge of the lip line with a layer of concealer then powder •  The desired line should be drawn on, making minor corrections to the natural lip line if required •  If you make a mistake, the wrong part of the line should be carefully wiped away. Concealer and powder should be reapplied to the wiped area, and the lip line can be redrawn •  For a longer-lasting lip colour the lips can be lightly powdered after blotting each layer. Alternatively use a lip sealer •  Lip liner can also be added after the lipstick application. This has a more subtle effect. WWW.THISISMINK.COM

Colour and application •  Lipstick should not be applied from the stick or lip palette directly to lips •  Use a lip brush to apply colour to the models lips •  Apply lipstick in one direction so lip colour gets into all the lines and creases •  When applying lipstick ask the model to smile so you can see any imperfections •  Blot the lips using a tissue, reapply lipstick and blot again •  If a shiny appearance is required, gloss can be used to finish. This should be applied sparingly. WWW.THISISMINK.COM

Changing the natural lip line

•  Use a lip liner 1 or 2 shades darker than the colour of the natural lip line •  When making lips appear smaller make sure to go over the natural lip line with a little concealer to hide the lips natural shape •  For lighter coloured lips, where lip colours can look bright, look for lip liner colours that are warmer (more brown) •  Darker lips tend to have more blue to them, so look for cooler colours (more pink). WWW.THISISMINK.COM

Changing the natural lip line •  To create the illusion of smaller lips draw the line on the inside of the lip line •  To create the illusion of a larger upper lip draw the line slightly above the top lip line •  To create the illusion of a larger lower lip draw the line slightly below the bottom lip line •  To create the illusion of a shorter mouth, draw the line inside the corners of the lip line •  To create the illusion of a wider mouth, draw the line slightly outside the corners of the lip line •  To create the illusion of a larger mouth, draw the line slightly outside the lip line. WWW.THISISMINK.COM

Lip styles

•  Natural lip: great paired with a smoky eye and looks effortless. Use nude lip liner and sheer lipstick to create this look •  Nude lip: great high-fashion look, but should be paired with a fairly dark eye so that model doesn’t look washed out. Apply foundation or concealer onto bare lips and follow with a nude lipstick or gloss •  Warm opaque lip: look is great for a warm, bronzed style and works well with either light or dark eye makeup. Use a warm lip liner to darken shades and follow with lipsticks or glosses in gold, copper or other warm shades. WWW.THISISMINK.COM

Lip styles •  Sheer glossy lip: this look is sexy but sweet and is great with a natural or medium eye makeup when using darker lip colours, and it’s great with almost any eye when using neutral colours. You can also use almost any lip colour and add a lot of clear gloss to it to create a sheer gloss. Use lip liners to add definition to the mouth if necessary •  Dark opaque glossy lip: best paired with a neutral eye. Look for berries and reds, pinks and purples •  Matte lip: great for period looks. Great to use in cool and warm reads and brick hues •  Creamy lip: lip has a slight sheen but is opaque and gives off a lot of colour. Great for a classic sophisticated look. Great in neutral pinks, mauves, berries, reds and bronzes. WWW.THISISMINK.COM

Lip styles Perfect red lips: •  Make sure lips are hydrated. Remove any excess with tissue •  Use concealer to erase natural lip line •  Use dark lip liner and fill in to create a dark matt lip •  Apply lipstick on top •  Note that you can also use a neutral lip liner and go over it with the lip colour of choice •  Apply a clear lip gloss to the centre of the mouth to create a sexy pout. WWW.THISISMINK.COM

Cool Tip

Use warm shades of lip liners to add richness to lips/cks and lip glosses. This allows you to use a colour that may have been too bright on its own.

Cool Tip

Apply lip balm to so\en loose, chapped skin and use a warm washcloth to gently remove any feathering. Finish with more lip balm.

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Cool Tip

To clean up lips/ck mistakes, add concealer to a small brush and use it as a eraser.

Designing makeup looks A.

Mood Boards

Face Charts

Record Sheets

Basic Makeup Looks

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Designing makeup looks •  It is often easier for people to comment on ideas that are presented to them visually •  ‘Mood boards’ – a collection of sketches, pictures, words, even textures or colours e.g. a selection of images, could be used to show sources of inspiration. Materials and products can also be demonstrated. The mood board will also be accompanied by a final image presenting the design in its entirety •  Face charts – used to present a makeup design or as a reference of a makeup lesson or makeup consultation. WWW.THISISMINK.COM

Mood Boards

A mood board is a type of poster design that may consist of images, text, and samples of objects in a composition of the choice of the mood board creator. Makeup artists use mood boards to develop their design concepts and to communicate to other members of the design team.

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Face Charts

Drawing sketches Putting ideas on paper To visually translate client requirements Useful as it helps other members of the team to fully understand the makeup look/idea •  Sometimes describing the image you have in mind can be hard and can generate misunderstanding, a face chart provides a clear visual for all concerned •  Also provides a list of products used, position on the face and any special instructions for application, so that another artist/team member can follow. •  •  •  •

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Face Charts

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Record sheets

•  Record sheets or cards for both male and female performers should be kept by the makeup artist •  Should contain all the notes about the makeup, including the type of makeup used, where and how it is applied and any special requirement which may be needed •  Polaroid pictures should also be taken for reference of the makeup along with a record sheet •  These should be kept safe in case a retake occurs. WWW.THISISMINK.COM

Basic Makeup Looks

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Makeup Looks - Beauty •  •  •  •  •  •  •  •  •  •  •

Moisturiser Light liquid foundation: if needed or Concealer: By itself where needed Loose/Pressed Translucent Powder Basic brown/light beige powder shadow: Lids Peach/off white powder shadow: highlight Basic brown shadow: brows/lash line Black mascara: Top lashes only Bronzer/powder blush: hollow of cheeks Nude lip pencil Clear pink/beige lip gloss. WWW.THISISMINK.COM

Makeup Looks - Bridal •  Moisturiser •  Tinted moisturise/light liquid base •  Concealer •  Loose translucent face powder •  Clear mascara/clear brow gel: Brows •  Soft pink/beige liquid/powder blush •  Light lilac/gold metallic shadow •  Black mascara •  Light flesh lip pencil •  Baby pink/beige lip colour •  Clear lip gloss. WWW.THISISMINK.COM

Makeup Looks – Smoky Eyes •  Moisturiser •  Foundation: Also use contouring technique •  Concealer: 1 or 2 shades lighter than foundation for eye area •  Loose translucent powder •  Beige/off white powder eye shadow: Eye lid •  Light beige/off white shadow: Highlight •  Black or dark brown shadow: Line/smudge into upper and lower lashes •  Black/charcoal/dark brown: Contour crease of eye and outer corners •  Dark brown bronzer: Hollow of cheeks blend towards sides of face •  Nude lip pencil •  Clear/pink lip gloss or Bright lipstick. WWW.THISISMINK.COM

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Makeup Looks – adding colour •  As previous page up to loose powder •  Warm golden metallic shadow: Lower eyelid and lash line •  Shimmery brown eye shadow: Crease of lid towards eyebrow ridge and outer corners •  Orange metallic shadow/hint of gold: inner corners of eye •  Green metallic shadow: Draw and smudge into lower lash line •  Follow directions on previous page for lips. WWW.THISISMINK.COM

Makeup Looks – Black and White •  •

•

Follow foundation contouring In photographs the colours of the cosmetics will be changed into appropriate shades from the greyscale, so we must remember that the key principle is to use lighter and darker tones of cosmetics to create a subtle play of shading and highlighting The darkest shades are applied to the outer corners and to the crease of the eye, to the hollows of the cheeks and sides of the nose, and to lengthen necks the hollows on either side of the neck We recommend lining the upper inner and outer lash line which will give the impression of thicker and fuller lashes and accentuating the outer corner of the eye and the crease by applying dark eye shadow. WWW.THISISMINK.COM

–6 PuRng it all together

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179

Special Makeup Considera/ons A.

Over 40s

Black Beauty

Freckled Beauty

Porcelain Beauty

Asian Beauty

Middle Eastern Beauty

La/n Beauty

Male Grooming WWW.THISISMINK.COM

Over 40s

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A Â

Over 40s

When applying makeup to mature skin it is important to be very gentle and to avoid dragging the skin tissue. Factors influencing makeup for mature skin

Sagging contours

Loss of natural colour in the lips, face & hair

Prone to hyperpigmentation

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Drier skin type

Wrinkles

Over 40s •  Using a pre-base product can often temporarily reduce eye bags or temporarily lift and tighten the skin. One such product is Clarins Beauty Flash Balm •  Use a cream foundation that will help to nourish a drier skin type •  Ensure the foundation does not settle in lines and wrinkles by blending carefully and using a tapping motion over the surface •  Keep the base matte; shimmery products can accentuate skin imperfections •  Make sure your face powder is matte, silky, fine and light. WWW.THISISMINK.COM

Over 40s •  Apply just the lightest dusting of powder on the centre of the face (not around the eyes, where lines are all too easily emphasised) •  Sagging jaw lines, double chins and hooded eyes can be reduced with the use of contouring makeup •  Cream blushers work well on dry, mature skin types. Apply cream blush over foundation and then lightly dust on face powder. A touch of powder blush can be applied on top for added definition •  Generally, more natural colours are an excellent choice •  Do not over-highlight the brow bone as this can accentuate a ‘hooded’ eye shape. WWW.THISISMINK.COM

Over 40s •  Grey eyebrows can be strengthened using pencil or powder •  When applying eye makeup you may need to lift the brow to remove creases from the eyelids to ensure an even application of shadow and eyeliner. Use multidirectional brush strokes to ensure all the tiny creases are filled with colour •  Eyeliner is useful for defining the eyes but make sure the effect is soft and smoky rather than hard and harsh •  A strong red lipstick with white or grey hair pulled back from the face can look very classy, but it does not suit everyone and requires strong bone structure to carry it off. WWW.THISISMINK.COM

Over 40s •  On mature skin, lip colour has a greater tendency to bleed, so use lip gloss only on the centre of the lower lip and ask models to rub lips together once or twice gently.

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Black Beauty

•  Dark under-eye circles: use peach corrector and yellow toned concealer •  Find a foundation that exactly matches skin tone. Experiment using two different tones of foundation. Undertones can be yellow, orange, red or blue •  Some dark skin looks best with no blush or with a bit of deep bronzer. For medium-toned skin, try bronzing powder or a currant-toned blush •  A range of blush tones in plum, rose, or pink look good on light skin tones WWW.THISISMINK.COM

Freckled Beauty

•  Embrace freckles •  If you need concealer, look for a yellow-toned product that is just one shade lighter than the skin tone •  Foundation can be used to reduce redness around the nose or blemishes. Tinted moisturiser gives some coverage but also lets freckles shine through •  Light tawny, coral, or pink tones of blush work well •  Sometimes foundation has to match the freckles that are a shade or two darker than the skin underneath. Do not look for coverage all over the face, only on the redness.

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Porcelain Beauty

•  Use porcelain-toned foundation to cover redness, dark circles and blemishes •  Use white face powder •  Avoid using blush with brown undertones. Go for pastels – pale pink is awesome •  Tan bronzer always looks dirty on porcelain skin •  Eye makeup in cool tones works best for porcelain skin tones. Avoid any red-toned products •  Pastel lip colours complement very light skin tones. WWW.THISISMINK.COM

Asian Beauty

•  The term Asian applies to a wide variety of cultures: Chinese, Korean, Indian, Vietnamese... the list goes on and on •  Use yellow-toned foundation. Though skin tones vary all have yellow undertones •  Fill in sparse brows with an eye shadow powder in dark brown. Avoid using black or charcoal even if the hair is black, because it will look too heavy •  Accentuate eyes with liner on the top only or on the top and bottom. Use a stronger line on the top. Make sure it shows when the eyes are opened •  Layer shadows to define the eyes. Don’t make the mistake of using a very dark shadow to draw in a crease •  A pop of bright coral or pink blush on the apples of the cheeks look fresh and pretty. WWW.THISISMINK.COM

Asian Eyes •  For Asian women, lining the eyes is a very important step in making the eyes stand out •  Gently pull the eyelid and start in the middle •  Go in close to the lashes •  Extend the line all the way across •  Reapply to make the line thicker Optional •  If you choose to line under the eye, Asian eyes look best with a very soft shadow line •  Blend the liner with your fingers. WWW.THISISMINK.COM

Asian Eyes •  Always enhance the eye’s natural shape and don’t try to change it •  It is never appropriate to use a dark colour on the crease •  With a full shadow brush apply a base colour •  Choose medium-tone shadow for the lid and apply it three-quarters of the way up to the brow •  Sweep colour all the way to the crease, blending as you go up •  Apply a deeper colour on the top of the first colour for density. WWW.THISISMINK.COM

Middle Eastern Beauty

•  Use a corrector to brighten very dark under-eye circles •  Sometimes you have to layer a few correctors (pink over peach) and then add concealer •  Find a yellow-toned foundation that exactly matches the skin. The right foundation often has a bit of orange as well •  Line the eyes with black liner or a charcoal shadow. Never go lighter than mahogany •  Use blush in deep rose and pink shades. Don’t be afraid to find your pop of colour •  Deep lip colours look wonderful on those with darker lip tones •  Avoid colours that turn ashy. WWW.THISISMINK.COM

Latin Beauty

•  Skin tones vary from very fair to dark •  Use foundation with a yellow undertone •  Neutral eye shadows look best every day. Try shades of navy, silver, chocolate, or gold for evenings or special occasions •  Accentuate natural lip colour with lipstick. Choose brighter or deeper tones for evenings or special occasions •  Bronzers are great to add warmth and ensure foundation blends into the skin. Always finish with a pop of colour. WWW.THISISMINK.COM

Male Grooming

•  Makeup should look completely natural •  The type of base that is used will depend on the condition of the models skin and the amount of coverage required, but should always be applied sparingly •  If the skin is in good condition all that may be required is a tinted moisturiser and a little concealer •  If the condition of the skin dictates more coverage, it should only be applied to areas that really require it and be perfectly blended for an invisible finish •  Primers are useful for reducing surface shine. WWW.THISISMINK.COM

Male Grooming Strong Makeup: •  Follow foundation contouring Soft Makeup: •  Concealer 1: A shade lighter than natural skin tone for eyelids/ under eyes, bridge of nose, outline lips •  Concealer 2: Same shade as skin tone for blemishes, red areas, sides of nose, neck •  Loose powder •  Clear mascara/gel: Brows •  Aloe Vera Vaseline/lip balm: Lips. WWW.THISISMINK.COM

Male Grooming •  You are not aiming to conceal 100% of imperfections •  Leaving 30-40% of these flaws will create a more natural effect and retain a face’s masculinity •  Powder should be applied, but used particularly sparingly in the beard line •  To tidy brows they should be brushed through and any gaps should be filled with colour to match the natural brow. Sparse brows can also be strengthened in this manner. A clear mascara can be used to hold the brows in place •  A touch of clear lip balm helps to give the lips a healthy gleam.

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The Business of Makeup A.

Career Paths

Working as a Makeup Ar/st

Presen/ng your Porxolio

Marke/ng Yourself

Insurance

Customer Care

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Career Paths

•  Makeup artists usually work in one or more of the following main areas: Film and Television

Theatrical

Bridal

Poten/al Career Paths

Fashion and photographic

Cosme/c Camouﬂage

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Makeup for Photography •  Applying makeup for photo shoots involves specific techniques that depend on a number of factors: Lighting: Indoors or outdoors? Film or digital technology? Colour or black-and-white? Style: What image does the photographer want? •  Making a photograph is a collaborative effort. As the makeup artist you are part of a team that includes; the photographer, the stylist, the hair stylist, the dresser, and the editor (if it is a magazine shoot), publicists and handlers (if the subject is a celebrity), and the subject being shot. WWW.THISISMINK.COM

Makeup for Photography •  Your job is to be true to your own style, yet be open to understanding the requirements of the stylist, editor and model; and to create a makeup look that works •  The only way to accomplish this is to communicate with everyone on the set and to be observant •  Don’t ever be embarrassed to ask questions or to give your opinion •  Throughout the process also ask for feedback. WWW.THISISMINK.COM

Makeup for Photography •  After you have applied the model’s foundation, let her look at it in the mirror to see if she thinks it looks right. It is much easier to change things at this stage than to wait until the whole face is done •  When analysing the first shot, get the photographers opinion on how the makeup is working – or not – with his/her lighting •  Once the shooting starts don’t think that your job is done. You need to stand by the set with your tools – powder, blush, lipstick etc. WWW.THISISMINK.COM

Makeup for Photography •  Watch the model through a pair of mini binoculars to keep a close eye on how the makeup is holding up and what might need fixing •  Exaggerate the effect you are trying to create – film has a tendency to neutralize, so the colour needs to be much stronger than what it would be in real life •  Over do it and then assess it not by how it looks to your eye, but how it looks on camera. WWW.THISISMINK.COM

Makeup for Magazines •  The difference between doing basic makeup and doing makeup that is over the top for highly styled fashion shows or magazine work is thinking outside the box •  Doing the unexpected – whether it is as simple as not putting on mascara or brows to a finished face or strengthening the brows to become a full blown experimental piece •  That is the difference between “basic” beauty and editorial freedom. It is about being confident enough to experiment outside of your comfort zone. WWW.THISISMINK.COM

Makeup for Fashion Shows •  The makeup artist must be able to speak about the designers vision and the current style trends •  The final look on the runway is a collaboration between the designer, the makeup artist, the hairstylist and the model •  Working with models is like working with a blank canvas. You can experiment and try things that would probably look horrible on a real woman but look great on the runway or in a photo. WWW.THISISMINK.COM

Makeup for Fashion Shows What happens before the show? The makeup test •  Research designer’s design style and history •  Meet with designer to discuss the look •  Your role is to interpret the designers vision •  Ask a lot of questions and keep asking until you feel confident that you have the right vision •  Do some trials and experiment with some options to show the designer •  Once the final look is approved, sketch it. WWW.THISISMINK.COM

Makeup for Fashion Shows •  Purchase anything you think you will need that is not already in your kit •  Complete a face chart that includes all of the products, with colour identification, location on the face and any special instructions needed to complete the look •  You will need a makeup team •  Find out how many models will be walking and hire one artist for every two to three models. WWW.THISISMINK.COM

Makeup for Fashion Shows What happens during the show? •  Stay calm – there will be plenty of chaos, lots of distractions and last-minute emergencies •  Be flexible – sometimes makeup is completely changed 30 minutes before the show •  Arrive two to four hours before the show is scheduled to begin •  Start by using one of the models to do a trial run of the makeup •  When makeup is done bring her out onto the runway so you and the designer can check the results under the lights. WWW.THISISMINK.COM

Makeup for Fashion Shows •  Once the look is approved the team begins to work •  Adjust the colours for each models skin tone •  Many models will arrive backstage from another show, if they already have makeup on and you only have minutes to change their look completely get them to wipe off their lipstick and eye shadow, you can have them leave the foundation and mascara on, but you must check it carefully to determine whether it will work with the look you are trying to create. WWW.THISISMINK.COM

Makeup for Fashion Shows •  Right before the show begins you need to check the models for refreshing or additional powder to combat shine •  Even after the models start heading down the runway your job is not done, as the models change clothes they might mess up their lips, or they might need a touch-up with powder •  Your job is to continue standing by, ready to fix whatever might need fixing. WWW.THISISMINK.COM

Makeup for Television and Film •  There is a misconception that makeup done for television has to be heavy. That is not the case. Use the same products you would normally use. Just make sure they are pumped up a notch and perfectly blended •  Brighten the under-eye area then set with loose powder. This is absolutely necessary as television lights increase shine •  Use full coverage foundation followed by powder to keep it matte. Sheer tints are too subtle for television •  Even if a glow is required, it needs to be added to the cheeks at the end of the makeup application. WWW.THISISMINK.COM

Makeup for Television and Film •  Colour tends to wash out, so always use two shades of blush – one natural shade followed by a brighter pop of colour •  Avoid lip colours that are too light, unless the subjects lips are so full that you want to downplay them •  Define lips with pencil •  Make sure hands, arms, neck and ears all match the face. WWW.THISISMINK.COM

Makeup for Television and Film High definition television •  High definition television is extremely unforgiving. The makeup you apply has to be both fluid and perfectly blended. Foundation that is not correctly applied will look like its melting off the face •  Always check makeup in the monitor to see how it works with lighting •  Blemishes need to be expertly covered. WWW.THISISMINK.COM

Makeup for Television and Film Film •  Directors, lighting and scripts dictate what style of makeup needs to be done •  Communicate with everyone involved, ask lots of questions and do lots of testing •  The real makeup challenge when working on film is maintaining continuity. Scenes are often shot out of sequence and your job is to make sure the character looks the same in each scene •  It is a slow process so always have a digital camera and a notebook to keep track of the shots. WWW.THISISMINK.COM

Working with Celebrities •  Working with celebrities is fun and challenging •  Just like every woman they want to find a look that is right for them while looking beautiful •  Whether you are doing their makeup for an early morning television appearance, a movie premiere, a photo shoot, or the Oscars, you have to adapt the look to suit the clothes, lighting and occasion •  Go slowly, ask a lot of questions •  Hand her the mirror frequently to avoid getting big surprises at the end of the application. WWW.THISISMINK.COM

Bridal Makeup •  Do a consultation before the wedding day •  Apply makeup in natural light (preferably day light) •  Use a moisturiser that will prepare the skin for makeup •  Emphasise the eyes •  Warm up the neck and chest with a dusting of bronzing powder •  Use two shades of blush •  Choose a lipstick that is one or two shades brighter than what the bride would normally wear. Pinks, roses and plums are great choices for brides. WWW.THISISMINK.COM

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Bridal Makeup •  Use a water resistant liner that can withstand tears •  Choose mascara that’s waterproof •  Pack a small bag of essentials, including a sewing kit with pre-threaded needles and a pair of tiny fold-up scissors to fix a dropped hem etc pre-wrapped wipes, static spray and lint remover, small bottle of perfume •  Set makeup with finishing/setting spray. WWW.THISISMINK.COM

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Bridal Makeup Consultation •  A learning experience for you and the bride •  Take very particular notes and what you did and which products you used and even a photograph of your finished work •  Ensure you have the appropriate lighting before doing the makeup i.e. If you have a daytime wedding use natural daylight etc. •  Dot not under any circumstance apply the makeup while the bride is in her wedding dress •  Over prepare. WWW.THISISMINK.COM

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Working as a Makeup Artist

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Working as a makeup artist •  Negotiate fees based on the type of production, your experience and track record •  The minimum pay as recommended by the Producers Alliance for Cinema and Television (Pact) and BECTU is £100 per day for a junior makeup assistant and £150 for a senior makeup artist •  Daily rates: Commercials around £500 a day, Fashion/ editorial work ranges from £200-£2,000, while top makeup artists can earn more than £3,000 •  Artists with published work ‘tear sheets’, can negotiate additional fees for their published work with companies that use them •  Established makeup artists often have agents who find them work. WWW.THISISMINK.COM

Working as a makeup artist Pitfalls •  It is important to have a good portfolio but beware of dodgy photographers or agencies “doing deals” •  Make sure you know everything about the assignment and client beforehand! •  Being abroad is one thing, but a shoot is hard work and you rarely get the opportunity to be a tourist •  The job is unstable and many artists spend their working life as freelancers. Many people don't get regular holidays with budgetary and time constraints •  Unless you have a full-time job with a pension, you must make your own arrangements and manage your accounts. WWW.THISISMINK.COM

Presenting your portfolio

•  Ensure your portfolio is presented well and invest in a professional ‘display book’ or portfolio •  A professional looking portfolio will give a good impression of your approach to work and encourage prospective clients to spend time looking through your designs •  Design sheets and photos should have neat straight edges •  Don’t put mediocre pictures into your portfolio •  Wherever possible have models in your pictures looking into gatefold •  Black and white photos and drawings are best mounted on black, white or cream mounts. WWW.THISISMINK.COM

How to stand out from the crowd Perfection Innate ability to enhance a woman’s face Exude complete confidence Inspire the subject, build up their egos, make them feel truly beautiful, give them the confidence to stand in front of the camera lens •  Creativity – always look for inspiration •  Never become complacent, always be excited. •  •  •  •

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Marketing yourself

•  Design a business card for yourself. It is not a good idea to put both your phone number and address on the card, in case it ends up in the hands of someone unscrupulous. However a phone number, email address, and website details are all useful information for potential clients. Remember clients will receive many business cards, so try to make yours stand out •  Remember you are only as good as your last job and a poor reputation is very hard to shake off •  Ensure local photographers know about you •  Network and make contacts. WWW.THISISMINK.COM

Insurance

•  Insurance is important to protect makeup artists against legal claims, loss or damage •  Professional indemnity insurance will protect against having to pay damages and legal costs should a claim be made against you. Every makeup artist should have this insurance •  Public liability insurance is a general term applied to forms of third party liability insurance with respect to both bodily injury and property damage liability •  Theft, loss or damage of makeup kit and equipment - Without insurance the contents of your kit, which you probably built up over a period of time, may be irreplaceable because of cost. WWW.THISISMINK.COM

Customer Care

•  Customer service is one of the most important skill to learn in any field of work •  Some of the most valuable skills are as follows: –  Listen closely to customers and ask appropriate questions –  Clear verbal communication: proper speaking skills, good grammar and the ability to choose the right mode of speaking –  Ability to empathize –  Time management skills –  Management of personal emotions –  Identify ways to continuously improve customer service

•  Remember that customer service skills can be learned! WWW.THISISMINK.COM

8 A\er care and useful informa/on

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A\er Care and Useful Informa/on A.

Student A\ercare and Support

Hints and Tips

Resources

Contributors and References

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Student a\ercare and support

•  You’ve completed your makeup course, now where do you go from here? •  We believe in giving our students every success possible in this very compe//ve industry and we have developed a revolu/onary a\ercare plan specially designed to give you the step-‐by-‐step help and support you need to be successful. •  A\er our students graduate we keep them up-‐to-‐date with work placement opportuni/es, backstage assis/ng opportuni/es, access to our innova/ve makeup events facilitated by some of the world’s best makeup professionals and we give them discount access to addi/onal courses and makeup master classes. •  We have also teamed up with a number of cosme/cs partners including BECCA cosme/cs, Inglot Cosme/cs, Ten Image cosme/cs, Guru Emporium and more to oﬀer our students exclusive discounts on cosme/cs product while you work on building your makeup kits. •  We are in regular contact with our graduates and strive to produce the best makeup ar/sts in the industry. •  Remember that we were once in your shoes, at the start of our careers. We understand more than anyone how hard it can be in the beginning, which is why it is so important to us that you are genuinely supported and guided at this crucial /me. WWW.THISISMINK.COM 75

Hints and /ps

•  Apply makeup primer first. Skin looks smoother and makeup lasts longer •  Use a sponge or fingers to press on and blend founda/on •  Always use powder if you are applying concealer but not using founda/on •  For powder, it is best to apply with a puff to set. Next, dust with Loose Powder Brush to remove any excess. For a lighter finish, use the Brush. Imperfect skin will benefit from using the powder puff to fill in and provide more coverage. WWW.THISISMINK.COM

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Hints and Tips •  When applying concealer to even out skin tone, use ﬂat concealer brush for wider areas, especially around eyes. Don’t forget the inner bridge of the nose close to the eye where it is dark •  When using dark eye shadows, you should always start with a small amount of colour and add more as you go •  For more control of eye shadow in smaller areas, use an angular eye shadow brush. For wider areas, transparency, and blending use eye shader brush •  Always brush eyebrows, use hairspray or a brow gel to hold shape. WWW.THISISMINK.COM

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Hints and Tips •  Especially with dark colours use a very good lip moisturiser first and blot away excess. This ensures smoother-‐looking lips •  For longer wear and more intense finish, a\er applying lips/ck, blot with /ssue and reapply. Colour will last all day •  For more casual-‐looking lips, some/mes leave out the lip liner •  Blend, blend, blend. Brushes are necessary but feel free to use your fingers to finish blending •  Do not apply the wrong shade of founda/on •  Do not forget to blend founda/on into the neck •  Do not apply a deep coloured bronzer on really pale skin. WWW.THISISMINK.COM 232

Hints and Tips •  Do not apply blush so that it leaves visible streaks on the cheeks. Blend carefully •  Do not apply too much shine all over the face. It is not ﬂahering •  Do not use a lip liner that is visibly darker than the lips/ck •  Do not over tweeze the eyebrows into the wrong shape for the face •  Do not apply too much lip gloss that it bleeds around the lips •  Don’t be too serious; it is only makeup! •  Remember just like any technique, makeup requires prac/ce. If you don’t get it right the ﬁrst /me round, don’t stress. WWW.THISISMINK.COM 233

Hints and Tips •  Line lower lash line with eye shadow because it won’t budge like a pencil can •  Set brow pencil with brow powder or face powder to get rid of the shine and to make it last longer •  Put down loose powder under eyes before applying eye shadow to catch any fall out •  If eyes tear use waterproof gel eyeliners and mascaras •  Adapt the makeup to the model •  Create rela/onships. WWW.THISISMINK.COM

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C Resources PROFESSIONAL MAKEUP SUPPLIERS WWW.SCREENFACE.CO.UK WWW.CHARLESFOX.CO.UK WWW.BECCACOSMETICS.COM WWW.GURUEMPORIUM.COM WWW.PRECIOUSABOUTMAKEUP.COM WWW.SEVENTAIMAGE.COM WWW.CROWNBRUSH.CO.UK WWW.INGLOTCOSMETICS.COM AND WWW.INGLOTUK.COM INDUSTRY MAKEUP TRENDS /ADVICE / MAGAZINES WWW.FACEON.COM WWW.MAKEUPMAG.COM WWW.BILLYBEAUTY.COM WWW.MAKEP411.COM WWW.BODYPAINTING-‐FESTIVAL.COM WWW.SKILLSET.ORG.UK

TRADE AND PROFESSIONAL BODIES FOR THE BEAUTY INDUSTRIES WWW.NASMAH.CO.UK WWW.BACTAC.COM WWW.CIBTAC.COM WWW.IMA-‐MAKEUP.COM WWW.HABIA.ORG

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Resources CONVENTIONS WWW.PRODUCTIONBASE.CO.UK IMATS LONDON WWW.STAGEJOBSPRO.COM THE MAKEUP SHOW GLOBAL FACE ART OLYMPIA BEAUTY PROFESSIONAL BEAUTY MAKEUP SHOW LIVE EXPERIENCE/PORTFOLIO BUILDING WWW.FACEBOOK.COM WWW.WHOISTESTING.COM WWW.MODELMAYHEM.COM WWW.STARNOW.CO.UK PAID WORK WWW.PASSIONATEABOUTBEAUTY.COM WWW.NEWIDSTUIDOS.COM WWW.makeup-‐PROFESSIONAL.COM WWW.THISISMINK.COM

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Resources FURTHER ADVICE •  For editorial work and for major shows be prepared to work for free throughout your career as well as taking paid work, in order to get editorial credits and build up your porxolio and credibility •  Search for agencies & photographic makeover studios on the internet. Always have an alterna/ve skill or job. COPYRIGHT •  This workbook contains copyright material and therefore must only be used in the context of private or public educa/on and teaching purposes and may not be used for the purpose of reproduc/on to publish commercially in order to beneﬁt ﬁnancially. WWW.THISISMINK.COM

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Contributors & Reference Fine, Sam (The Beauty of Makeup Experience) Morris, Rae. 2008. Makeup the ultimate guide. London, UK: Apple Press, 2009 Fornay, Alfred. 2002. The African American Woman’s guide to successful makeup and skincare. New York: John Wiley & Sons, Inc. Aucoin, Kevyn. 2000. Face forward. New York: Little, Brown and Company. Nars, Francois. 2001. Makeup your mind. New York: Powerhouse Books Parker, Nancy and Kalish, Nancy. 2000. Beautiful Brows. New York: Three Rivers Press Conway, Julia. 2004. Makeup Artistry for professional qualifications. Essex: Heinemann the Brown, Bobbi. 2008. Makeup Manual. London: Headline publishing group Barnes, Scott. 2010. About Face, Celebrity makeup techniques. London: Apple Press IMAN, 2005. The Beauty of Color: The Ultimate Beauty Guide for Skin of Color. USA: G.P. Putnam’s Sons Taylor Chang-Babaian, 2010. Style Eyes. New York: Penguin Group Taylor Chang-Babaian, 2007. Asian Faces. New York: Penguin Group Moehr, KR. The Business of Bridal Makeup (Kindle Edition) WWW.THISISMINK.COM

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