Category
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CreativityTranscript
00:00 The head did not have time to think, the hands did it already.
00:07 After that, the problem is bigger.
00:10 Therefore, do not be afraid, please.
00:13 Let's do it again together and help.
00:17 We have a person who is from the beginning.
00:20 Four main lines.
00:22 We call the first.
00:29 Hair growth or line hair left.
00:34 In which I begin to see the face.
00:37 The second line.
00:38 Growth.
00:39 Further.
00:40 These lines give you the proportions, the direction.
00:46 Further.
00:47 Behind them are the lines.
00:49 Why in this order?
00:52 Why is the eye a shape-forming line?
00:55 Well, as secondary.
00:56 And the lip is secondary.
00:57 We can change it.
00:59 We can change everything.
01:01 In fact, it is.
01:02 Why are they?
01:04 Because they are the biggest.
01:08 Not true.
01:09 No.
01:10 Why?
01:11 Without makeup, look at a person.
01:15 How do you see?
01:16 Do you see the eyes first?
01:17 No.
01:18 Even if you have very thick eyelashes, very black, a couple of these eyelashes will always
01:25 what to go?
01:26 Hair.
01:27 From nature, the first four lines are more intense.
01:30 Before you it was done.
01:32 These lines what do?
01:34 Divide the face.
01:35 Divide what?
01:36 On certain pieces.
01:37 We have a big canvas and there are small fragments, zones.
01:41 These zones are just located between the main lines.
01:46 Further.
01:47 In each zone there is its center.
01:50 In the central - this is the eye.
01:52 They are always smaller, they are always secondary.
01:54 They are more variable.
01:56 I can move them.
01:57 Down, up, left, right.
01:59 I can say.
02:00 Further.
02:01 And lips, which also, as it were, fill the center of a certain zone.
02:06 Therefore, the primary is the division line.
02:09 And the secondary are those lines that give shape.
02:12 Small fragments.
02:13 Big picture with pieces and very small picture.
02:16 The eye, lips, shape of the lips.
02:19 Yes.
02:20 Eye line, lips line, shaping.
02:22 Nose.
02:23 Nose is also a form of shaping.
02:26 Just with him in the salon work rarely work.
02:29 That is, we work with him, but not as they work with him.
02:32 Because it is noticeable.
02:35 I can make a correction on evening make-up.
02:39 In the shadow, as they do.
02:41 Moisturize.
02:42 I will not do it on the bride's day.
02:46 I will attract more attention to her than to her problems.
02:50 Because if there is a problem, it must be strongly corrected.
02:54 So, what else is left?
02:57 Take your girl, please.
03:00 Which I will give you.
03:02 Move your hand away from you.
03:11 No more.
03:12 That's it.
03:13 Move your hand away from you.
03:15 Tell me, beautiful model?
03:17 Yes.
03:18 Do you want such models to be?
03:20 Yes.
03:21 Aesthetically?
03:22 Yes.
03:23 And now attention.
03:24 We compare only in the order in which I call.
03:27 One eyebrow, second eyebrow.
03:28 Compare.
03:29 One above, another below.
03:30 One above, another below.
03:31 Further.
03:32 One round, another sharp.
03:33 Absolutely right.
03:34 Further we analyze the fold of the forehead.
03:35 One forehead.
03:36 One forehead.
03:37 One forehead.
03:38 One forehead.
03:39 One falling.
03:40 One falling.
03:41 And the second is more even.
03:43 And now the upper eyelash line.
03:46 One above, another below.
03:48 One above, another below.
03:50 It is visible, yes?
03:51 Different?
03:52 Different.
03:53 Compare the lower lines.
03:54 One above, another below.
03:55 The level of the eyes is the same.
03:58 One eye.
03:59 More.
04:00 More.
04:01 One less, one higher, one lower.
04:02 Cheeks, eyelids.
04:03 One higher, one lower.
04:04 At different levels.
04:06 At different levels from everyone.
04:08 Check the jawline, please.
04:10 Here is the straight line.
04:12 Here is the straight line.
04:13 We have a beautiful model.
04:15 And now look.
04:17 What am I trying to tell you?
04:18 This is normal.
04:19 That is, why did I ask you to have your hand outstretched?
04:22 Because if I did not tell you to compare, you would not see it at all.
04:26 Who immediately threw asymmetry in the eyes when I showed?
04:30 Immediately saw that she was all asymmetric.
04:33 I thought it was not printed correctly.
04:38 In fact, when you look at the client for the first time, you do not come up or start.
04:44 Well, let's look.
04:45 This is your brow.
04:46 This is your different brows.
04:47 Yes?
04:48 And the eyes are different.
04:49 That is, you see this look at a certain distance.
04:52 Yes?
04:53 And the first thing we see is our general feeling.
04:56 Well, as if from the street.
04:57 I can ... I did not just ask you to be beautiful, right?
05:00 Do you want to come like this?
05:02 Well, everything is fine.
05:03 Then, when we start to compare, we begin to notice such things.
05:07 We are talking about asymmetry.
05:09 Each of us has such asymmetry.
05:11 In every face, in every shape.
05:14 Yes?
05:15 Someone has more, someone has less.
05:17 But the rule is this type of asymmetry.
05:20 Without makeup, it is not visible.
05:23 And each of you probably has a brow.
05:26 In such a case, when everything was good and seemed normal, but as soon as you started
05:31 doing makeup, suddenly.
05:32 The peculiarity of the flash is that with a flash, the half-shadow is eaten
05:37 almost completely.
05:38 And if you do not do this, you will not get a beautiful eye shape.
05:43 You will get huge bags under your eyes.
05:45 Yes?
05:46 Therefore, first I am looking for a place in makeup.
05:49 Yes?
05:50 Where will the eye be?
05:52 I reduced it from here, I reduced it from here.
05:54 How much do you think you need to leave the light?
05:57 Well, to roughly understand the composition.
06:00 As much as here.
06:02 Clever girl, as much as on top.
06:05 Girls, the eye in this case in the composition is considered a cut.
06:08 Cut.
06:09 I move the cut of the eye and the whole area.
06:12 And therefore, the distance from the eyelashes to the eyebrows should be, so that it is in the center.
06:18 Where?
06:19 The same as from the lower eyelashes to the cheekbones.
06:23 That's when the cut of the eye is clearly moved here.
06:27 To the center of your composition, to your place.
06:30 Even if you do not change the shape, the person will look at himself and see
06:35 in the center of the eyes.
06:36 And not bags, not cheekbones, not problems, not everything else.
06:39 Yes?
06:40 Like a right nude, right?
06:41 Like a right nude, one hundred percent.
06:43 Which does not change the shape, but at the same time changes the proportion.
06:47 Yes?
06:48 We look at different faces from this point of view.
06:51 I'll collect it later, Tanya.
06:59 In fact, you should observe it, just do not ask yourself questions.
07:05 You know, when?
07:07 When you clean up, we talked about it today, you clean up, and the eyes are falling.
07:13 We tried, tried, cleaned, cleaned, you liked it, the client says, "God, what narrow eyes
07:19 became.
07:20 Give me back the bruises, I'm not used to it.
07:22 Explain to me why this happened, from the point of view of what I told you.
07:26 And what is it?
07:30 Start with what was falling.
07:32 This is wrong.
07:35 She was half-shadow.
07:37 Yes?
07:38 What was she doing with her eye while she was?
07:41 She lowered it on one side, closer to the skull, yes, because the place of light was
07:46 filled, yes?
07:47 On the other hand, it was big, because half-shadow, yes, reducing the light, increases
07:53 the shape.
07:54 Do you understand what I'm talking about now?
07:56 Yes?
07:57 You removed it.
07:58 There was more space here.
08:00 The eye rose closer to the eyebrows, yes, and its area became smaller, because you
08:07 half-shadow removed.
08:08 And therefore, very often, people who always go with this, always, they are really
08:14 not used to it, because they really see just a flat eye-hole.
08:18 And until you build it correctly, you will not find a place for it, they will
08:22 see it.
08:23 Look here.
08:24 Another, Anatoliy, yes?
08:27 First, visually, yes, learn.
08:31 Her eye is small, big, small.
08:34 And you are so?
08:37 Big, why?
08:40 In the center, put, yes, look.
08:44 You removed the excess, yes?
08:46 If the skull is here, it is small.
08:48 Why is it small?
08:50 Because there is a lot of light below, and if here?
08:54 Big, yes?
08:55 That is, it is not just a big-small, it is big or small for the area in which it is.
09:03 It is important to understand, yes?
09:05 We work with her.
09:06 Look, her shadow is now directed like this.
09:09 Well, here it is natural, yes?
09:11 That is, when her shadow is directed in this way, in which part of the light is most.
09:15 Here.
09:16 Right?
09:17 Where there is more light, I can remove it.
09:20 What?
09:21 In her version, exactly half-shadow, right?
09:24 I start to raise half-shadow, yes?
09:26 Here she has volume.
09:28 I start to raise it, reducing, first of all, where?
09:31 Where it was?
09:33 Most of all, of course.
09:34 Here I raised it.
09:35 I can't go further.
09:36 What should I measure?
09:37 Look, mentally.
09:38 Distance.
09:39 Here is the eyelash.
09:40 To the eyebrow.
09:41 To the eyebrow.
09:42 This is from the top and down.
09:43 From the bottom to the volume.
09:44 Where is the eye now?
09:45 A little higher.
09:46 A little higher in the center.
09:47 Can I fix it?
09:48 Yes.
09:49 Yes.
09:50 Her version, working with lower eyelashes in half-shadow is necessary.
09:51 Due to this work, what do you do?
09:52 You find a place, yes?
09:53 That is, you kind of lowered it, and then went further.
09:54 Yes.
09:55 And then you work with the shape.
10:02 Well, about the shape, until they speak, yes?
10:11 Here it should be very clear to you, yes?
10:20 Look, the distance is here, and the distance is here.
10:27 And it is just visible, here it is in the volume.
10:32 No matter how hard you try, look, you will never rise higher than this zone, because then you draw a half-shadow on the bone.
10:39 Well, yes.
10:40 Yes?
10:41 That is, you stop right here.
10:42 And your eye will still occupy only the upper point in the composition.
10:46 Why do Asians go to the eyelashes most of all?
10:49 Because they center the eye.
10:50 Because they center the eye absolutely correctly.
10:51 Because due to the half-shadow, the extra area is reduced, and clearly due to this, the shape increases.
10:52 This is almost the only shape with such an anatomy that suits her.
10:53 And it is not connected with the classics at all, it is connected with the place.
10:54 If I, of course, her accent will be more with her anatomy on the lower eyelash than on the upper.
10:55 After the eyebrow, very often the chemical wrinkles fall.
10:56 And therefore, the shape is not very clear.
10:57 And the shape is not very clear.
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