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CreativityTranscript
00:00 I want to make a point, we will build several forms,
00:05 and in none of the makeup my model does not close her eyes.
00:08 Why?
00:09 A frequent technical error.
00:11 We build in a closed state, the eye opens,
00:15 and in the end, all our correction goes to "no".
00:18 Why?
00:19 People walk down the street, their eyes are open,
00:22 and they evaluate your work in an open state.
00:25 Therefore, it is very important for me to see the lines that I will correct.
00:30 What do we have in the Viki?
00:32 We get a line, look, the upper line or the line of the upper eyelashes
00:37 is slightly longer than the line of the lower eyelashes.
00:40 If I make the makeup to overcome this combination,
00:45 if I have more of the lower line, the eye will rise up,
00:50 just as I showed on the diagram.
00:53 Between these two lines is the tear duct.
00:57 Therefore, building out my guide, I leave the tear duct inside.
01:04 Due to this, my makeup will be especially resistant.
01:08 When creating a line, I remember that it should have a dark part,
01:13 this is the part where it is combined with the line of the upper eyelashes.
01:18 The closer to the volume, the closer to the eyelash line,
01:23 the smoother the line goes to "no".
01:27 I work out the line.
01:30 The feature of summer skin is that the skin is thin,
01:33 so when working out the shape, I must remember very clearly
01:38 that it needs only a little, there cannot be increased rigidity.
01:44 Now I am moving the line of the upper eyelashes.
01:49 I got an angle, look, the lower line is playing in the makeup.
01:53 Visually, the eye rises a little.
01:56 From this angle, I enter very clearly into the line of the upper eyelashes.
02:05 I got a new cut, the eye got an elongated shape.
02:11 I will give an additional direction.
02:14 To get the direction up, the brush is placed in the lower line.
02:19 Very carefully, stepping over the fold, I give a guide axis.
02:27 The eye went up, there is a good elongation.
02:32 What am I doing next?
02:34 A little bit on me, Vika.
02:36 We open our eyes.
02:38 From the nose to the eyelashes, I draw a line with a pencil.
02:45 I repeat its anatomical shape now.
02:49 And now I enter the edge and gently pull it to the nose.
02:57 Look, two strokes and I got a completely different shape.
03:03 One of the simplest alternative makeup.
03:09 But nevertheless, a very popular client due to this simplicity.
03:14 What am I doing next?
03:16 I work on the upper line.
03:18 Step by step, very slowly, as if a straight line, turning it into a small arc.
03:25 I open my eyes.
03:28 My direction is left.
03:30 Why?
03:31 This is my border, I will not work beyond it.
03:35 What do I have to do?
03:37 Connect the crease and the nearest volume.
03:40 I said that there is one color spot here, a little bit lower, Vika.
03:45 With smooth movements I create a shadow.
03:49 Two pencil elements work at once.
03:56 Where the line is, the edge works.
04:01 Closer to the volume, the plane works.
04:06 We gave a color spot, it is solid.
04:09 We open our eyes.
04:11 What do I need to do now?
04:14 The edge is hooked, pulled the shading to the middle volume.
04:21 Or we tied the color spot and the volume under the eyebrow.
04:25 The edge is hooked, the shading goes along the line.
04:37 Why do I need to follow?
04:39 First, I work only with the edges of the color spot.
04:42 Second, the further from the eye, the softer the shading.
04:50 A little bit lower.
04:52 The edge is hooked, the shading goes along the middle volume.
05:02 The density is necessary, it gives the volume to the makeup.
05:11 I add a smooth transition between the shadow and the half-shadow.
05:18 Pay special attention to the pencil.
05:22 It is not about the quality or the color.
05:26 Let's solve it together.
05:28 We can say that the pencil draws on the skin.
05:34 Why?
05:35 Here we had a foundation, powder,
05:40 here we had a half-shadow.
05:46 I have a quite dense texture.
05:50 To get such a smooth shading, the pencil should be fatter than usual.
05:56 Therefore, pay attention to the pencils that we recommend for the technique.
06:01 On ordinary skin, they look too fat.
06:05 Very often, many people are even alarmed at first.
06:09 You do not take into account the stages that will be performed in the future.
06:15 You do not take into account the base stage.
06:18 The color of the pencil, as well as I paid attention to the color of the corrector.
06:23 I must say that the pencil should have a cold brown color.
06:28 That is, the color of wrinkles, the color of the crease.
06:30 Then it will look very logical in shape.
06:34 As for the quality of shading,
06:39 pay attention, I had a pencil sharpened very sharply.
06:42 The sharper you sharpen the pencil,
06:47 the more accurately you will imitate a new line, a new crease, and so on.
06:53 If you worked correctly, the edge remained unchanged.
06:59 It remains to fill this work with color.
07:03 I want to say right away, for those who like to combine bright colors,
07:07 that the more graphic the shape is, the more complex it is,
07:12 the fewer experiments we do in color.
07:15 I would like to fill this shape in monochrome.
07:20 In order for you to understand that in the technique that we present,
07:24 in the foreground there is a correction of the shape.
07:28 The color is as auxiliary.
07:30 I use the same shade that I used to correct the eyebrow.
07:36 Why?
07:39 The same reasons as in the previous choice.
07:43 When it gets on the skin, this shade will look colorless or natural.
07:49 A clean transition will provide the previous drug or our PP.
07:54 That is, the transition will be very smooth.
07:56 Applying this color will not distract attention from the shape.
08:04 The whole emphasis is on the shape of the eye.
08:07 And, of course, the features of the summer skin,
08:13 the features of the summer color group.
08:16 I compare summer and say that summer is a lacquer paper.
08:22 Or a negative paper from a photographer.
08:26 When we show it, we get a clear image.
08:31 Look, literally two strokes were enough for me to change the shape completely.
08:37 I have set the main color.
08:40 Now I can help myself a little with glare, if I need it.
08:45 Let's add a little more contrast.
08:52 This is also a PP.
08:55 The abbreviation PP means "pearl powder".
08:59 I put the final glare.
09:03 This is pure white, extra bright.
09:05 It gives more contrast to the makeup.
09:11 If necessary.
09:15 There is enough of the previous stage.
09:18 To work with one more color, I apply it to the eyebrow area.
09:25 I added a little contrast.
09:28 For such a quick shape, this is enough.
09:34 The next stage is very important.
09:37 This is a technical stage.
09:39 It is in the final accent.
09:42 I will do the lining in makeup.
09:45 The next stage is a technical lining.
09:49 We say that in our technique this is a very common element.
09:54 Why?
09:55 We have graphic makeup.
09:57 And I need enough rigidity in certain elements, in certain lines.
10:02 I will accentuate.
10:04 In the classics, I accentuate the upper eyelashes.
10:09 In such linear forms, all the main lines are accentuated.
10:13 I use a hidden pigment.
10:18 The lining I do now is a cold blue color.
10:24 Or blue-black.
10:26 Why?
10:27 Because it is not so contrasting.
10:30 A large number of dark lines gives roughness in work.
10:35 Therefore, we give a diluted line, dark blue.
10:39 To make the makeup look graphic, a little low.
10:43 But at the same time, soft.
10:47 Remember that we have an eyelash growth in the summer color group.
10:51 I open the eyelashes.
10:53 Very light.
10:55 A little lower.
10:57 So, painting the lining, we grab a little bit of the roots of the eyelashes.
11:04 I bring out the upper line.
11:06 It is the main in makeup.
11:08 We open.
11:09 And in order not to lose the direction, look, I bring out the lower one a little bit.
11:16 This is an alternative form.
11:18 We give our students the last one.
11:21 We give them a week before the release.
11:23 The last block of training.
11:25 Why?
11:26 Because you need to be very good.
11:28 The form looks simple, but you need to be very good and qualified.
11:32 And with the shading, and with the form.
11:35 See, be able to see, be able to choose the right form, who to offer.
11:40 And finally, work with the lining.
11:42 This is a graphic work.
11:44 It has always caused difficulty for the makeup artist.
11:48 Therefore, we say that who wants to practice making arrows,
11:53 yes, there is a block of alternative forms.
11:56 And the last element, I will do it in the lining.
12:00 If it is difficult for you, you can make it with a pencil.
12:04 And it is not necessary to get into the color of the lining.
12:07 You can just make a guide.
12:09 Either brown, or black.
12:12 The top of the eyelids looked good.
12:15 I do the work, connecting two lines.
12:20 Blinked, blinked.
12:24 And I go out a little.
12:30 I want to say that we planned a series of such training disks.
12:35 And there will definitely be a series of collections of our competition works.
12:39 Our teachers are performing masters.
12:42 Why did I remember this place?
12:45 Because such ownership of the exact line,
12:48 ownership of the lining,
12:50 these findings that we made in terms of introducing elements of competitive forms into the salon work,
12:56 it is certainly due to the fact that the masters invest a lot in themselves.
13:01 And they work a lot in areas not only of work with clients,
13:05 not only work at school,
13:07 but also perform in arenas of different levels.
13:11 From our national to international arenas.
13:15 Therefore, such accuracy in the lining,
13:18 when any make-up artist who is starting to get scared,
13:21 the competitor is happy,
13:23 because at this stage the makeup is cleaned,
13:26 acquires a very clean, very clean look.
13:31 What do I have to do?
13:33 I paint the corner a little bit,
13:37 but without leaving the color scale.
13:42 That is, the same falling, which we immediately initially built.
13:46 Please note that due to logic and due to the thoughtfulness,
13:56 and I also want to say that we naturally did not have time to rehearse,
14:00 because we are very active.
14:03 We got a job that is very clean at once.
14:08 This allows you to conclude that working in a clear technique,
14:14 you will always get a thoughtful and logical result.
14:19 I just have to paint the eyelash line.
14:23 If I did not touch the lining,
14:27 I would definitely paint the roots due to mascara,
14:31 because the eyelash is light, a little bit low.
14:34 When painting the eyelash, I lift the skin,
14:37 the eye is open, looks down.
14:39 I lift the skin above the eyebrow.
14:42 I paint the eyelash line completely along the entire length.
14:48 Here you can not combine the color of the lining and the color of the mascara.
14:56 If I had a dark blue lining,
14:59 I took a black mascara, a little bit down.
15:02 This gives the thickness of the eyelashes.
15:04 I could give a purple color,
15:06 I could use dark blue,
15:09 but taking out the black, I take away the attention from the decorativeness
15:14 and return the logic,
15:17 that is, I give an emphasis on the logical, accent top line.
15:24 In order to paint the lower eyelash,
15:27 I take a drug on a brush.
15:30 Why? A little bit up.
15:32 In the summer color group,
15:34 eyelashes have the property that they are light, thin,
15:39 but at the same time they are long enough.
15:42 Many clients in this color group do not like to paint the lower eyelash.
15:46 First, it can be printed from below,
15:49 it can give an excessive shadow under the eye.
15:52 In summer, the bags are already walking under the eyes.
15:55 Therefore, it is important to me that the eye acquires a logical outline.
16:00 Therefore, I paint only the roots.
16:05 If the client wants, I can go through the entire length,
16:10 but it is important for me that the eyelash edge is designed.
16:14 We take a little bit of excess, a little bit up.
16:21 I also want to say that the more mascara you apply,
16:24 the less eye will be.
16:27 Therefore, in a mandatory order, I make sure that my length prevails over the density.
16:35 If I need to give the necessary density,
16:41 I can use a bunch of eyelashes, I can use a strip.
16:46 But at the moment, I just need a defined eyelash row.
16:51 I clean up the excess.
16:55 Look, there are a few of them, but they are there.
16:58 I work under the axis.
17:01 If you did not succeed the first time and there was a lot of mascara,
17:05 take a little bit of the product, it will clean up even better.
17:08 Here is the first shape that I showed,
17:12 which is very convenient to start with.
17:16 It is very simple and at the same time requires very precise movements.
17:20 If you offer it to your clients, I think it is a quite salon shape.
17:25 I think that many people will like it.
17:28 And we will now move on to the next shape.
17:31 This shape is also linear.
17:33 It can also be adapted to almost any eye cut.
17:37 A shape that interests many people.
17:40 We are talking about a shape called a corner.
17:43 If we say that alternative shapes are mainly youthful,
17:48 that they are used more in cocktail versions,
17:51 for example, the same graduation evenings,
17:54 some wedding elements, and so on,
17:56 then the shape we are talking about now, a corner,
17:59 is a shape that can be used even in dress makeup.
18:03 It is used, in principle, even up to a certain age.
18:09 Because this is a shape that has the main goal
18:13 of increasing the mobile volume, raising the eye and slightly extending it.
18:19 How is this shape built?
18:22 I have an eye whose shape is lowered down.
18:32 The main task with this shape is to raise the eye.
18:37 What am I going to do?
18:39 Just as I made the lower line work in the previous shape,
18:43 I will follow the same logic here.
18:46 I trim the upper lash line.
18:51 I make the lower line become the main one,
18:56 but I do not cross it upwards.
18:59 I must achieve the closeness of the mobile eyelid,
19:03 then the eye will automatically increase in contrast.
19:07 I enter the lash line from the corner.
19:10 I work on the lower lash line,
19:15 not on the upper one, as we did before,
19:18 but I make the lower line clearly visible.
19:21 When I do this, I clearly see where the natural eye shape is directed.
19:28 Now it is clearly directed downwards, and I need to work upwards.
19:34 I start to work on the edge of this line, millimeter by millimeter.
19:42 How far do I thicken the line?
19:46 Pay attention to the intersection with the crease.
19:50 I have extended the line and the eye has already risen upwards.
19:57 The next step is to connect the creased line with the crease.
20:02 As soon as the upper line becomes the main one,
20:07 the eye has risen again.
20:09 This proves that the upper line is strongly tightened.
20:14 The eye has risen downwards, and I need to work upwards.
20:17 I repeat the same graphic technique,
20:21 extending the crease upwards.
20:27 This is how I create a straight angle in the diagram.
20:37 Why a straight angle?
20:39 Because in a moving space,
20:42 there will be no work of the eyelid.
20:45 We have given the eye a new skeleton,
20:48 and I worked only with lines.
20:51 Two color spots.
20:53 The first color spot is from the intersection to the upper one.
21:01 Where will it be shaded?
21:04 On the temple, along the line and on the closest volume.
21:09 The second color spot is from the intersection to the volume of the eyebrow.
21:17 And the shading is on the temple, on the center of the eyebrow and in the fold.
21:26 Let's see how this shape works in real life.
21:30 We have already prepared the background.
21:33 We have made the correction, the eyebrow line.
21:36 I just need to add the eye to this zone.
21:39 Let's open the eyes.
21:42 The upper eyelash line is visible.
21:46 Pay attention to the fact that the line is sharp.
21:52 It feels like we have drawn it along the eyelid.
21:56 We have reached the edge.
21:58 Now I have a very delicate brush with a straight angle.
22:01 It is used to draw small shapes.
22:04 I put it on the edge, extended it, and it went down.
22:08 This is the first line.
22:10 The second line is the line that I drew from the bottom to the eyelash.
22:18 It is clear.
22:20 I can clearly see the shape.
22:24 Now I will influence this shape.
22:27 Here is the movable eyelid.
22:29 Even with the perfect eye position, I want to make it a little bigger.
22:34 I start a little bit.
22:37 Look, I extend the upper line until the crease.
22:47 The main condition is that the line should clearly enter the eyelash.
22:51 It should have a sharp angle at the moment of the crease.
23:04 The line should not be extended beyond the crease.
23:08 The next step is to draw a crease from the corner.
23:13 I open the line.
23:16 Again, I use the pencil sharpener.
23:21 Look how the movable part is enlarged.
23:26 I expand the upper line and the angle.
23:34 Open your eyes, Zekusha.
23:40 Look straight.
23:47 Look, my work in the line is done.
23:52 If you know how to draw a line, it will be done very quickly.
23:59 Combine the line and the volume.
24:01 The darkest point is the intersection of the main lines.
24:07 A color spot is created.
24:11 It is like filling the line.
24:15 The blending is done.
24:22 The line is drawn to the nearest volume.
24:24 The direction of the cheekbone is drawn.
24:29 And the line is drawn to the intersection of the main line and the corner.
24:35 Look, if you fantasize, you can stop here.
24:38 If you extend the corner, you will get a shape that will lengthen the eye without lifting.
24:45 I go around. I clearly maintain the shadow.
24:50 The blending is done very cleanly.
24:53 Despite the ease of perception, try to do it.
24:56 It will be difficult to master the pencil from the first steps.
25:01 A color spot is built from the corner to the middle of the eyebrow.
25:06 The sharpness and the plane of the pencil work simultaneously.
25:17 I have drawn the line.
25:19 Look, the blending is combined.
25:21 I draw the line through the movement of the eyebrows.
25:27 I have drawn the line.
25:30 The color goes to the volume of the eyebrow and along the line.
25:57 The makeup in the pencil is done.
26:00 I want to draw your attention to the fact that in this technique 90% of the work is done at the pencil stage.
26:09 The shadow only helps to perceive the shape.
26:12 To make it clear, we will do the blending in the same color range in which we did the previous work.
26:22 The color will be a little darker.
26:27 I will add contrast due to black.
26:30 Such angular shapes are wonderful to blend with a blending brush.
26:35 Many companies offer this technique for coloring the eyebrows.
26:40 Why? Because the edge of the pencil clearly fits the line.
26:47 At school, we say that the pencil is a "eye" until the edge of the eyebrow is finished.
26:54 We open the movement of the brush as if filling.
26:59 The edge of the brush works clearly from the line.
27:14 As soon as the "eye" is finished, the edge of the eyebrow is finished, we put the brush flat.
27:19 The movements are much faster, stretched, very soft.
27:31 Due to this, I get a smooth blending of the same color.
27:36 The whole correction and all the volumes were done at the pencil stage.
27:44 I only confirmed and fixed the shape with a shadow.
27:53 The lower line is blended to the nearest volume.
27:57 In order for the eye not to round, the whole blending should end before the pupil.
28:03 Since the shape is graphic, the blending is an undoubted attribute.
28:09 I have two brushes in my hands.
28:12 The first brush is a blending brush.
28:15 The main feature of the alternative or graphic form is that it works not only the main line, but also all the lines that are involved in the formation of the form.
28:40 I smoothly go to the "no" in the direction of the nose.
28:45 There is no point in going to the "nose" in this form.
28:49 I clearly outline the built-in form.
28:53 I combine the upper line and the lower one.
28:56 The underlining is black.
29:05 I also work on the upper line.
29:13 The difference between these forms is that I use the line as a correction.
29:21 I use a technical technique.
29:34 I immediately duplicate the line with a shadow of the same color.
29:41 Unlike the previous form, the makeup is considered more graphic.
29:51 Please note that when blending, it is very important that the hand does not hang.
29:56 My hand is always looking for a springboard.
30:00 I land on my nose or cheekbone.
30:03 It is very important that the movements are very precise and the work is very clean.
30:12 I set the direction and completed the form.
30:16 I add contrast to the work.
30:21 I return the highlights.
30:23 I can work with pearl, a little bit of a low-end.
30:28 I can work with white matte.
30:38 It is important to enhance the contrast between the line and the moving volume.
30:43 White matte, and on top of it, the PP, with which we started.
30:47 This is a very beautiful preparation in terms of decoration.
30:51 I paint the eyelashes.
31:05 I paint the eyes.
31:25 I paint the eyebrows.
31:45 I paint the eyelashes.
32:11 Since I have a good shading from below, unlike the previous form,
32:16 I can take not only the roots, but also give the length of the eyelashes.
32:34 You can leave the work in this form.
32:36 It is finished as for the salon work.
32:41 You can decorate it.
32:43 We say that there are techniques that, without affecting the form, can complement and decorate it.
32:52 To perform this technique, I use a brush.
32:55 This brush is very interesting.
32:57 It is very hard.
32:59 It is not used for shading.
33:01 The brush is made of a hair ear.
33:03 Each hair gives its own line.
33:06 We will talk about tamping.
33:08 This technique allows you to decorate and slightly complement the form.
33:16 It is built on such forms that go with an expanded shading.
33:20 Therefore, showing the form as a corner or a cat's eye,
33:25 I say that any of them can be decorated with tamping.
33:30 I use a white aqua green brush.
33:36 Each hair will give its own line.
33:41 I apply such elements of decoration very carefully outside the color spot.
33:50 I will use different degrees of skin contact.
33:56 I touch the hair, press it, turn it over with the whole plane.
34:01 I grab the edges.
34:04 It should look like using oil paint.
34:09 The strokes are different in intensity.
34:13 If this is a technique in the decor, I'm not afraid to go down.
34:17 But I will definitely take into account that I have a lot of hair at the bottom.