Certificate Course Book

CERTIFICATE COURSE IN MAKE-UP ARTISTRY
FUNDAMENTAL OF MAKE-UP & APPLICATION IN PRACTICE

INDEX
TOPICS PAGE NO.
Advance corrections and Sculpting 3
Advance Makeup styles 12
High definition makeup 18
Airbrush makeup 20
Creating Shoots and portfolios 29
Introduction to Film, Fashion and Black & White photography 36
Introduction to Fantasy makeup 41
2 This document is meant for internal training purpose only

ADVANCE CORRECTIONS AND SCULPTING
In the “Introduction to corrections” segment we have briefly understood facial feature corrections
required to highlight Makeup and make it look perfect. This chapter throws light on Advance
corrections and sculpting essential to create a picture perfect camera ready makeup.
Creating an ideal Face shape – In the “Introductions to Corrections” chapter we learnt about Face
shaper corrections.The term corrective makeup is sometimes confused with the term camouflage
makeup, which is applied to conceal scars, hyper pigmented (darker) areas and other features that
a person wishes to hide.
Corrective makeup in today’s makeup world termed as Sculpting - An advance art in makeup
which throws more highlight on the same topic to get a Picture perfect face. Sculpting makeup
is a serious play with how you can shape and define your face to highlight your natural features.
Sculpting makeup is a method of applying highlighting (light) and shading (dark) techniques to add
or subtract contours to your features.For instance, you can use corrective techniques or sculpting to
make a narrow top lip appear to be fuller, and to work with unequal eyebrows to give them a more
symmetrical appearance.
It is a method of creating beauty through illusion.
Master painters use light and dark to give the illusion of valleys and hills to a face. Artists will tell you
that using light and dark creates the illusion of depth, distance, form and shape in a portrait.Subtle
highlight (light) or shadow (dark) can completely change the way the eye perceives. Makeup artist
uses the same techniques of an artist to their advantage. The important first step in this method is
to understand how you perceive your own face.
S T E P1. FAC E M A P P I N G
Even though makeup artists may have been applying makeup for many
years, they seldom take time to thoroughly explore every clients unique
bone structure.
For precise makeup corrections

»» The first recommendation is take close-up view of your clients face
from every angle. Be objective when you study her face. Notice those
parts that are assets and those parts that are not.
»» The next step is to physically map out her face, to really feel the
facial structure. So go ahead, using the tips of your fingers, gently
feel around your entire face. Where are the valleys and hills of her
facial landscape. Notice the bones whether they tend to be angular
or rounded.
»» Notice your skin texture: is it fine-pored and thin, crinkled like tissue
paper or thick with big pores. Where does your skin fold; what is the
undertone color.
This document is meant for internal training purpose only 3

This facial analysis is necessary to help you recognize and appreciate the individuality of your clients
face. Developing an awareness of skin texture, skin color and unique bone structure is the essential
first step to mastering the art of sculpting makeup.
THE USE OF LIGHT - HIGHLIGHTING
Highlighting ‘lifts out of the shadows’ and helps to bring out, widen or soften your features.Having
completed the face mapping, you now know where those unattractive valleys and indentations are.
These areas create a shadow that adds age to the appearance of the face.
Diminish the impact of the indentions on face !
Highlighting, in this case, does not mean white. Choose a

foundation (or powder) that is a few shades lighter than your
all-over-face foundation color.Some makeup brands have
very effective products especially for this technique, e.g. MAC’s
Sculpting and Shaping powders.
Area A: The small and often deep valley between the bridge of
the nose and the inside corner of the eye.Some makeup artists
shade this area dark.Find what looks best for your clients face.
Area B: For the most unattractive puffy pouches under the

eyes. To minimize the effect of the puffiness, apply light from
the inside corner of the eye and along the base of these
pouches.
Area C: The crease around the outer edges of the nostrils and
along the creases that run from here to the outside corners of
my mouth.
Area D: For the small pocket of shadow below the outside

Make sure to only apply light to the very bottom of these ‘valleys’. corners of my mouth.
S T E P 2 . H O W T O A P P LY L I G H T
When choosing to apply sculpting makeup it is the second last step in the makeup regime; a light
dusting of translucent powder is the last step.
Using a small, square-tipped brush, apply light to those areas you have identified as needing light,
then use your fingers for blending.
Always use the method suggested : Touch and Press.
This method involves using a fingertip to ‘touch’ then ‘press’ the product into the skin (as if you were
blotting).Caution: The warmth of your skin will tend to melt the product and lift it away from your
specific area of placement. A remedy is to use a tissue to constantly clean your fingertips.
Once you master this method, you will see the light and dark blend into the foundation and look as

though the valleys and hills you have created are a natural part of your facial landscape.
THE USE OF CONTOURING (DARK-SHADOW)
Use dark to create, to recede, to narrow or to sharpen features. Application of ‘dark’ can work
wonders for a double or fleshy chin as well as give the illusion of shortening or lengthening the nose
or perhaps giving a better ‘look’ to the nose.
Only apply dark to the temples and under the cheekbones, Jaw line, forehead and chin if required.
S T E P 3 . H O W T O A P P LY D A R K

The technique to apply dark is exactly the same as applying light.
TIP: Powder products are more forgiving than a darker foundation or concealer when applying
sculpting makeup. Use flat rather than shiny, shimmery, satin or sparkly colours for dark.
The method of applying two tones of dark- This method is best illustrated by looking at how we can
enhance one of our best facial features: our cheekbones.
STEP 4. CHEEKBONES TO DIE FOR
During your face mapping exercise,notice how the structure of your cheekbone could be compared
to a ledge protruding from a building.Both the ledge and your cheekbones have a top, a side and a
bottom aspect. These three aspects need to be taken into account when creating your ‘Cheekbones
to Die For’.
The Magic Line - Imagine the face has a vertical dashed line running from the outside corner of your
eye and straight down the side of your face.This is the ‘Magic Line’ and is the guideline for applying
sculpting makeup to the side of your face.NO blush should go past the ‘Magic Line’.
Light - Using a brush, or a fingertip, sketch down with light from the outside corner of the eye for
about a half-inch (to the highest point of your cheekbone). Then sketch a line from the eye corner to
the hairline.
Now close the triangle by drawing a straight line diagonally across the ridge of the cheek. This
highlights the ‘top’ aspect of your cheek. Fill in this triangular outline with light then use the touch
and press method to blend so that no edges are apparent.This technique is vital for creating the best
effect for sculpting makeup.
Dark Starting underneath the cheekbone, at the ‘Magic Line’ (imaginary dashed line), sketch about
a half inch of dark product back to the ear. Using the touch and press method, blend the dark
downward and backward so no edges are apparent.If you want to deepen the shadow effect of this
dark application, apply a very narrow band of a ‘darker’ dark over the original dark application from
just under the cheekbone.
Blend, blend, blend!

When done carefully, this will give the illusion of a real shadow that seems to deepen the hollow just
under the cheekbone. This darkens the ‘bottom’ aspect of the cheekbone.!
Adding color to cheeks - Finally, add some color to the ‘side’ aspect of the cheekbones. Color gives
curve and softness to thecheeks.Color Using the ‘Magic Line’ as a guide, dot three small circles of
colour (I use red) along the ‘side’ aspect of the cheekbones back toward the hairline. Again, use the
touch and press method to totally blend in, giving the illusion of softly rounded cheeks.
Sculpting Makeup takes practise but if you are prepared to play with colors and the hills and valleys
of your facial landscape you will find exactly how to create a beautifully defined and well balanced
face.
CORRECTIVE MAKEUP SUPPLIES
Depending on the areas you plan to work with, you may need wider selections of makeup and
supplies. A few include:
»» Lip lining pencils in dark, medium, light

»» A variety of foundation colors and shades
»» Concealers in light and darker shades
»» Light to dark eye shadows and eye liner pencils, including browns and grays
»» Translucent powder
»» Makeup sponges; brushes and applicators
»» Tweezers
Professionals use disposable mascara wands and other throw-away applicators when working with
makeup. You might not choose to use them with your personal supplies, but they do help keep your
makeup collection more sanitary.
CO R R EC T I N G A N D S C U L P T I N G F E AT U R E S
Corrective Makeup Techniques for the Face
Round or Square Face: Blend a darker foundation on the outer edges of temples, then along the
cheekbones and jawline. Use lighter foundation along the center of the face, from the forehead to
the tip of your chin.
Narrow Face: Use a light foundation on the outer edges of your cheekbones.
Wide Jaw: Use a darker foundation below the cheekbones and alongside the jawline.
Receding Chin: Use a lighter foundation to highlight the chin.
Double Chin: Use a darker foundation to shade under the jawline and over the double chin.
EYEBROWS -To Get the “Ideal” Brow
Eyebrows – Eyebrows in the most important part of a contoured sculpted look. It has to be shaped

and filled with precision. We have already studied about ideal eyebrow
shapes.
The Ideal shape is soft arched with a narrow tapering end lifted up
like a roof top avoiding downward slope. A downward slope makes the
entire look droopy and takes away the sharpness.
Using a Eyebrow taut also helps to keep the brow hair in place.
There 2 ways of achieving perfect dark eyebrows
Method 1 – Outline the Eyebrows using a Dark eyebrow pencil from and fill it with an eyebrow
groomer. Stoke a lighter foundation to under and above the eyebrow line to create a sharper and
dramatic impact.
Method 2 – Outline using an eyebrow powder with an angular brush and fill the rest with the same
eyebrow powder. A concealer/Highlighter crayon can be used to highlight the above and under area
for the additional effect.
Eyebrows is the highlight of Sculpted makeup as it the most important feature of the face that can
either uplift or downturn a face.
Corrective Makeup METHOD

Tips for Eyebrows
:1 METHOD : 2
»» High arches make your face appear more narrow, which could be a good thing for a round
face, but not as desirable for a face that’s already very narrow. To adjust a high arch, remove
extra hair from its top and fill-in under the eyebrow with pencil or shadow.
»» Add visual height to a low forehead by decreasing the arch.
»» Make your eyes appear farther apart by widening the distance between the brows and
extending the brows slightly outward.

C R E AT I N G T H E P E R F E C T E Y E S
Whatever eyemakeup scheme is chosen, getting the right eyeshape is a primary requirement of
corrective makeup.
Almond shape is considered as the ideal eye shape. Though contouring, Highlighting and liner
variations the needed effect can be achieved.
Corrective Makeup Techniques for the Eyes

»» Lengthen round eyes by extending shadow beyond the outer corners
»» Make close-set eyes appear farther apart by placing light shadow in the lids near the nose,
and darker shadow on the outer edges of the lids
»» Use light, reflective colors in the crease to make deep set eyes emerge; use darker colors
sparingly
»» Extend shadow ever so slightly beyond the side of each eye to make small eyes look larger
»» Make prominent eyes less noticeable by blending a medium to dark shadow over the most
prominent part of the eyelid, and blending it upward towards the brow.
Contouring and Highlighting the Eyes

»» Hi always start by applying the highlighting color in the Inner “V” or Tear duct brow bone. You
can either apply the inner lid shade or a highlight color to make your eyes look larger and
brighter.
»» Usually lightest shade of your chosen color is used to highlight the inner
»» Medium tone of your chosen color is used to highlight the middle lid.
»» Adarker shade of your chosen color is used to highlight the outer lid.
»» Outlining the outer edge of the eyeball defines the outer “V” of an eye. Usually darker colors
are used to highlight the outer “V” area.
»» A shade or two darker than the lid color is usually used at the crease cut to better define
the eye. Blendout the excess of color in the contour area between the brow bone and the lid.
Which means while moving upwards starting from the lid towards the brow, tone down the
shade from dark to light. Lighter shade of lid color or highlight color can be used to fade the
strong colors.
Follow the natural shades of the eye are to have the best narural sculpted effect. To keep it subtle
and Nude shades of brown can be used for contouring the eyes and beige to vanilla colors canbe
used for Highlighting.To have a Dramatic sculpted eye make up Black touch of Black is must and all
frosted colors from peach, Blue, purple, metallic greys can be added.
DIFFERENT EYE VARIATION
Light on the lid and Dark in the Crease: This isn’t as graphic as the
Cut Crease, but it is similar. The Cut Crease is different because it is a
specific sharp cut between the two colors, and it is angled in a certain
way. This is much more blended and smokey. You see this look with a
lot of matte colors.

Kohled eyes: This is basically intense eyeliner. It really makes the eyes look striking, and the variations
are endless. The examples here show really smudgy sultry thick black liner, a bit of an all around
winged liner, and really messy black liner.
The Graphic Shape: Graphic shapes are also for the adventurous makeup lover. This makeup is just
really cool. It’s eye makeup that has a huge focus on shape, and really has a pronounced cut. This
type of look is usually a combination of really well-done, sharply drawn eye shadow and eyeliner.
Sometimes it is just eyeliner.
The Sharp Angle: This is an eye shadow shape that ends very sharply. It adds a lot of drama and is
commonly used in Arabic makeup or Arabic-inspired makeup. This look is often achieved using the
tape method.

LIP CORRECTION
Creating Perfect lip- To complete the sculped look it is of utmost

important to get the perfect lip
Corrective Makeup Techniques for Lips

»» Make a thin upper lip appear fuller by lining it with a lip
lining pencil (stay on the outermost area of the lip —
extending too far looks artificial) and then filling in with lip
color; reverse the procedure for a thin lower lip
»» When both lips are thin, line both with a pencil (do not go
far past the natural lip line) and fill in with light lipstick to
make lips appear larger
»» Too-full lips: use a lip liner to draw a line just inside the
natural lip line; fill in with soft colors, avoiding frosty or
glossy lipsticks that attract attention
»» Drooping corners: line the lips, focusing on building up the
corners; fill in with a soft color.
STEP BY STEP LIP CORRECTION
Apply Lip Line Perfector around the edge of the lips. It will prevent
the lipstick from feathering.
You may apply some Lip Balm, few minutes before starting, to
moisturize your lips. Then take off the excess with a tissue.
With a perfectly sharpened lip pencil, line the center of the Cupid’s
Bow and center of the bottom lip to establish symmetry.
Outline the center of the lower lip

Draw the outer corners of the lips.
Starting at the outer corners, continue outlining the contours until

the lines come together at the center of the lips blending the pencil
inwards.
Blend the Lip Contour with a lip brush from the edge of the lips
towards the center.
Apply Lip stick.
Apply color to the center of the upper lip, following the lip pencil.
Apply color to the center of the lower lip.
Apply color, working from the outer corners to the center of the upper
and lower lip
For a finishing touch and more shine you may apply lip gloss on top
of your lipstick.
If these techniques are followed rightfully, Sculpting make up give the

most amazing picture portraits that nay photographer or makeup
artist could desire of.

ADVANCED MAKEUP STYLES
Make up personifies individuality. Different people have different choices and so makeup can be
created in various styles. This chapter focuses on different styles of Makeup to cater to different
clients as per needs and requirements.
NEUTRAL/ NUDE LOOK
Makeup styles come and go but some makeup looks never go out of style. Natural or Nude makeup
is one among these styles. The key feature is to go monochromatic, the color palette used should
complement your Skin tone and complexion.The best is to wear colors close to your natural skin tone,
and ones that just enhance and perfect your skin.It is a look that involves using neutral colours and
accentuating you features without looking made up. The thumb rule is “ Less is More”.
NUDE MAKE UP FEATURES

»» Use liquid or powder based foundation and concealers as using thick cream based products
will give a cakey look. The trick is it to use too much concealer
»» Use powder only if needed. Use is only on areas that get shine
»» Cream blushers or Tints are the best. Warm peaches or pinks give a natural subtle flush
»» Use neutral colours just a little darker to your skin tone to contour your eyes and highlight the
lids, Inner corners and brow bones with champagne, beige, vanilla etc..
»» To add little definition, line your eyes with brown or grey. Best is to use a Nude eye pencil to
add to the natural look
»» Defined lashes are a must even for a no make up look. Brown or Black mascara can be used
depending on the clients hair colour. Comb out excess coats using a spoolie to keep the look
natural
»» Choose a lip color very closer to your natural lip shade. You can go for light pinks, peaches
and sand colors. You could also apply a little gloss or lip balm for an even simpler lip.
CLASSIC MAKEUP LOOK
Classic makeup look is an all time favorite of all the makeup artists and
it has been ruling the trends from time immemorable. Whether it’s the
definitive red lip or defined eyebrows, we can all take a cue from old
Hollywood and incorporate these classic makeup looks into our beauty
routine to feel like a silver screen siren.
The shades used for this makeup are mostly warmer. Slightly peachy
to pink tones works really well to enhance the freshness of this look.

KEY FEATURES OF CLASSIC LOOK
»» Flawless matte skin - Using the right combination of foundation, concealer, and pressed
powder will ensure that you look picture perfect. Start with moisturizing your face, then use
concealer to hide any blemishes or #dark circles. Next, apply foundation and powder for a
flawless finish
»» Red lipstick - Regardless of your #skin tone, you can
rock a red lip. A key to getting this makeup look on point
is to choose a color that matches your skin tone. Apply
concealer around the outside of your lips to further define
them.
»» Defined Eyebrows - Having a set of dark and defined
eyebrows can make your makeup look polished and
accentuate the eyes. Old Hollywood had it right when all
of the stars had a well-defined and dark brow. Use a dark
brow powder to fill in and shape your eyebrows.
»» Winged eyeliner - The key to a great cat eye is a great
eyeliner -- cream or gel liner works best -- and creativity.
You can do the standard swoosh, or winged, eyeliner, or
get fancy. Rest of the eyes are kept softer to enhance the
liner
»» Cheeks–Using a cream or liquid tint for blush on the apples of your cheeks will give you a nice
glow and balance out your vintage inspired makeup look. For warmer skin tones peach blush
can be used. The shades and strength of the look can be adapted to suit the skin tone.
»» False lashes - A must to add drama and an air of mystery to this look. If you find the lashes
are too long, simply trim them.
GLAMOUR MAKE UP LOOK

Modern Glamour Makeup has a distinctively cool, fashionable quality
that discerns it from the original look of glamour.The makeup look has
strong eye definition, radiant luminous skin and lips that create anoomph
impact. The edgy feel of the style comes from the inclusion of on trend
makeup details and an overall great sense of style.
KEY FEATURES OF THIS LOOK

»» Luminous skin - Adding sheen and metallic touch to skin highlights
a typical glamour style.Silicone based hydrating Moisturizers and
primers are used to have the right canvas.
»» Dazzling eyes – Glitter, shine, shimmer, gloss, textured and color
liners – these definitely is a style which is followed when it comes
to glamour makeup, but the placement of these elements creates
variations that becomes trends
»» Eyelashes – Eyelashes are a must to add the required drama
»» Lips– Using brighter or darker colors or adding sheer gloss on the lips makes them look sensual

EYE MAKEUP VARIATIONS FOR A GLAMOROUS LOOK
The Cut Crease: This is for the advanced makeup enthusiast. The Cut Crease is a technique in which
the crease is “cut” sharply with a contrasting eye shadow color to give it that really dramatic defined
crease. There is usually always dramatic sharp liner to go with it, and the makeup is very angular.
Glamour Smokey Eye: Adding glitter or shimmer to the smokey eye can add lot of drama to make it
look glamorous and stunning
Glamour lips – Lip is a feature that, with a touch of shimmer, gloss or glitter can add a lot of drama
and make a look appear Glamorous and appealing. Gloss has always been a trending style statement
of glamour makeup. It is the Metallic and Ombre lips that have added to the variation.

BRIDAL MAKEUP LOOK
The Every bride dreams of her wedding day and wants to be at her
best appearance that day. Bridal make up is an important part of
bridal dressing. Along with the shinning jewellery and a gorgeous
wedding dress if the make up and the hair do is inappropriate then
their beauty are also marred. So it’s very important to know about
the right kind of bridal make up that would suit the brides taste and
skin tone.
A professional makeup artist understands how a beautiful makeover

personalizes a wedding. It include a balanced and symmetrical
makeup application, wedding makeup colors for indoor and outdoor
lighting, shimmers and glitters as per clients need, perfect lips
and faux lashes as the finishing touch. Though there is variety of
innovations available in Bridal makeovers it is essential to understand
the different types of bridal makeovers to offer the perfect wedding
look.
TRADITIONAL BRIDAL LOOK
A look which depicts culture and ritual of individual state. Traditional

bridal make up includes auspicious hues like red, gold and green but
the makeup shouldn’t be over the top and should naturally enhance
the dewy radiance of the bride. Extra is given to accentuate your
best features, and seamlessly covering your imperfection. So over all
bridal make up form and integral part of a brides repertoire.
KEY FEATURES OF BRIDAL MAKEUP:
»» Prep the skin -Using a primer before you apply your makeup
will help ensure it holds up through the occasion. Use a
small amount after you’ve moisturized, but before you put
on foundation. Spread it evenly on your face and eyelids to
create a smooth base for everything to come
Let you skin tone and undertone guide your makeup color choices.
»» Apply foundation - After you’ve put on the primer, allow it time to dry or set. One of the
biggest mistakes you can make when applying makeup is not giving each step time to dry.
Apply foundation in thin layers, starting from the middle of your face and blending outward
using a foundation brush. You don’t want any visible lines, so pay close attention to blending
beneath your jaw and on your neck.
»» Concealing - To hide a blemish, put foundation on it first, then apply concealer before setting
it with powder. If you can still see it, add more concealer and powder. Make sure you pat the
concealer on the blemish. Don’t rub

»» Set your base and then contour - Use a cream blush rather than a powder blush or set your
base with powder. Cream blushers last longer so they are the right choice for bridal makeup.
Then use a powder bronzer that’s just a shade or two darker than your foundation and brush
it in the shape of a 3 on both sides of your face.To do so, start at your hairline, move down
the side of your face and then under your cheekbone, back to the side of your face and then
below your jaw
»» Apply highlighter - If you use a liquid, dab it on with a brush after your foundation in the
shape of a check mark. Start near your inner eye, go down at a slight angle toward your
nostril and then up your cheekbone, blending toward your temple. Do the same above your
brows, down the center of your nose, the center of your forehead and your chin. If you’re
using a powder highlighter, use it after you powder and brush it under your brows, lightly in
the corner of your eyes and on the tops of your cheekbones. Don’t use powder highlighter
under your eyes or over your mouth or you’ll look sweaty in photos.
»» Groom and define the eyebrows using an eyebrow groomer. Frame your face with a brow
powder a little darker than your natural color. Brush it into the natural line of your eyebrows,
working outward to the end of your eyes
»» Bring color to your eyes with shadow and liner. Using a cream eye shadow will last longer
and is best used on the lids of your eye while a powder is best in the crease of your eye. Use
a powder highlighter in the corners of your eyes and under your brow.
»» Apply mascara - a good eyelash curler, a volumizing mascara and a lengthening mascara.
Curl your lashes before applying both. With your mascara, start at the root of your eyelashes
and wiggle up from side to side to the top.
»» Create lips that look good and last - Use a lip hydrator/ lip balm and let it absorb a couple
of minutes before applying color. Choose a color that complements your blush while also
following these tips. Also, while many newer lipsticks claim to last hours, going with a lip stain
is a better bet on your wedding day. Next use a lip liner to define the shape of your lips and
to seal it all in. Add just a little more color and blend the two together.
If you go for a bolder, or statement, lip color, keep your eyes soft and
natural to avoid the bridal doll look.
CO N T E M P O R A RY B R I DA L LO O K
Contemporary make up is a blend of classic and modern look, use of new

age make-up colors in a different way.
The Double Wing: This is your classic top liner, but with a twist. This involves
the bottom eye shadow or line winging out to parallel the top liner. There is
usually a light color between the two in order to emphasize the juxtaposition.
KEY FEATURES OF CONTEMPORARY MAKEUP

»» Skin prep – Skin prep is the same as other makeup, but avoid moisturizers with too much
moisture/cream as it makes the Base look shiny. Contemporary look generally should have a
matte effect to its base.
»» Foundation – Generally liquid foundation goes well with contemporary look as the coverage
needed is light and natural.

Colors and makeup schemes are the uniqueness of this makeup. Fashion forward trends like
forecast colors, extended liners and contoured features is the highlight of this look.
»» Contouring & Highlighting – Features are corrected and face is made look sculpted as per
the look designed. Use of cream contouring followed by a powder contour finish enhances
the sharpness. The key in “Blending” – placement of lighter and darker colors should merge
avoiding any sharp lines.
»» Eye Makeup – Although the use of trendy colors is the highlight of this makeup, contouring of
eyes is also a necessary element that must not be overlooked.
»» Blushers – Cheeks should reflect natural undertones and blended well on the cheek bones.
Blusher must add a healthy glow to the face and bring out skins natural sheen
Bronzers can be added to give a glamorous effect to the makeup

HIGH DEFINITION MAKEUP
The new age of imaging is The “High definition age”. With High
resolution digital cameras, HD TV sets and LED,s, the pictures quality
have become clearer with a micro refining impact. It is High definition
concerns for filming and photography are really the same as they are
in real life when you are looking at someone’s face. What we see live
is what we now see on the new high resolution TV screens or in photos
W H AT I S H D M A K E U P?
High-definition, sometimes abbreviated as Hi-def or HD, commonly refers to an increase in display

or visual resolution over a previously used standard.
In digital camera terminology, high definition photo is a shooting mode found on some digital cameras
that produces a 1920x1080 pixel high-definition (HD) quality photo that will perfectly fit a wide-
screen HDTV (16:9) for full-screen viewing.High-definition TV sets can project larger images with 2
to 5 times the resolution of analog sets. So everything from wardrobe malfunctions to a host’s outfit
show in much more vivid detail.
That was the inspiration for high-definition makeup. We really are talking about makeup that looks
flawless in Camera, on TV, Theatre screen and on stills
making the skin looks like REAL SKIN. High definition
is an art which involves the use of light] reflectors
and ingredients such as minerals to give the skin a
flawless finish. This was developed due to the further
development of high definition mediums. High-def
cameras expose any crease, wrinkle, or blemish. But
thick, unnatural pancake makeup is also obvious
through an HD lens. To avoid the cakey texture of
standard TV makeup, high-definition makeups are
sheerer while still hiding uneven skin texture and other un-telegenic flaws.

“You can see the skin through the makeup, but the makeup creates a softer focus,”
In other words, these cosmetics simultaneously camouflage imperfections, cover blemishes, and still
manage to appear invisible. The pigments and formulas are designed to blend seamlessly with the
skin.
High-Definition Makeup is not a brand of makeup that we use on our face, this is actually a TECHNIQUE.
A technique that a makeup professional has to undergo training, practice, and master to be able to
do makeup for HD cameras. Doesn’t mean that if you use HD Makeup, you are HD-camera ready.
HIGH DEFINITION PRODUCTS
Today HD is part of every day life, with HD technology every

woman wants to enjoy a perfect, natural and flawless complexion.
The HD complexion products use innovative formulas to create
a new generation of makeup which is both invisible on HD
cameras and to the naked eye. HD makeup product contains
light deflectors and pigments that give the appearance of
smooth, even complexion — without a cakey buildup. The light
texture gives a more natural look, while the pigments blend with
the skin.
HD products usually harness high-grade silicone to

smooth any uneven texture on the skin’s surface (imagine
your face has been through a virtual laminator and you’ll
get the idea). The skin with HD makeup looks like REAL
SKIN, pores aren’t really noticeable, blemishes are hidden
naturally and carefully, and the powder we use to hide
and set them is also invisible; there are no obvious seams
where a color starts and stops - meaning the blend of the
product is really smooth, there are no mismatches in the
colors of the face with the neck, the shades are true to real skin and not too pink, yellow, purple, gray
or green. The makeup doesn’t make the hairs on the face and jaw-line look like you have fur!
Cosmetics with an HD label will likely contain one of the following: mica, silicone, crystals, or quartz.
These particles sit on top of the skin and help to scatter light in subtle ways. The powders are often
milled to a fine consistency to help avoid detection by the cameras. Mineral pigments in a micronized
texture are often present as well because they don’t settle into pores. Some formulas may contain
mattifying agents to prevent shine in oilier complexions and avoid glare. So foundations are usually
oil-free.
HD makeup is often made to moisturize because makeup can settle into cracks and creases of dry
skin. The hydration also plumps up dry skin to make wrinkles and lines less noticeable.
In the land of HD video and photography, high definition techniques have pushed makeup artists and
directors of photography toward changing their methods to account for the much clearer pictures
we are now seeing on our TV sets and out of our still images. Along with the HD products Professional
trained makeup artist use HD makeup techniques to bring out the best of their features with the use
of as little product as possible. Getting HD camera ready means having to look like yourself with
natural, glowing skin with a little color but not the inch-thick makeup look.

AIRBRUSH MAKEUP
W H AT I S A I R B R U S H ?
Air brush make-up is sprayed on to the skin using airbrush instead of being applied with sponges,
brushes, fingers or other methods. Air brush make-up gives a smooth and even finish to the wearer.
This is a ‘High Definition” lightweight make-up that last much longer regular conventional make-up.
Airbrush makeup is also available for eye shadow, blush, eyebrows and lips and can be layered,
shaded, highlighted and contoured. Application wise, the technique is more sanitary than traditional
makeup application due the artist never having to touch the skin. It’s also faster, if done by a trained
artist. Fantasy and special effects are able to be stenciled or created by freehand. Once the airbrush
is done, the effect last for 12 to 24 hours.
H I S TO RY O F A I R B R U S H M A K E-U P
Airbrushed makeup was first used in the film 1959 Ben Hur, where the makeup artists used the
technique to apply makeup to a large cast. Airbrush make-up has become more popular with the
on-vent high-definition video and television (HD) wherein the camera sees more details than ever
before, Liquid foundation that are high in coverage but thin in texture are applied with the airbrush
for full coverage without a heavy build-up of product. It is also a highly popular technique for “Special
F/X” Make-up. Traditional powder or liquid based make-up can settle and appear in pores and
wrinkles and be visible on HD film. As the makeup is sprayed on, it connects with the skin as millions
of droplets of formula. The formula can create an even, sheer, natural appearance to the skin that, if
applied properly for a natural look, can appear natural and non-heavy like traditional makeup.
AIRBRUSH MAKEUP FOUNDATION COMES IN SIX DIFFERENT FORMULAS:

»» Water based: Finely ground pigments dissipated in water.
»» Polymer-water-based: A mix of water, polymers and pigment, when airbrushed on the skin
the polymer dries leaving a continuous coating on the skin.
»» Polymer-SD40-alcohol based: Instead of using water like the polymer-water-based formula,
it uses alcohol which assists with drying of the makeup on the skin.
»» Alcohol based: Also called “temporary airbrush inks” alcohol based formulas are generally
used when creating fake tattoos.
»» Silicone-based: Uses silicone for longer lasting wear and without fading. Silicone-based can
be thinned with certain types of formula additives, for lighter coverage.[3]
»» Airbrush makeup can be removed by using a 50/50 mix of isopropyl alcohol and isopropyl
myristate.

AIRBRUSH KIT
Air Brush includes the following components
Air Compressor – Basic work of compressor is to generate air and

control air pressure (as per requirement). Airbrush make-up requires
very less PSI (20 to 25 PSI)
SINGLE ACTION AIR GUN:

It works with a single action mechanism where the depression of a
single “trigger” results in foundation or liquid color and air flowing
into the airbrush body and the atomized liquid (foundation ) expelled
on to the target surface. This type of gun is good for body paint where
you need large amount of color directly on the surface.
Function- Single action airbrush technique derives its name from the
fact that only one action is required for operation. The single action
of depressing the trigger releases a fixed ratio of liquid to air.
DUAL ACTION AIR GUN

Dual action or double action airbrushes separate the function for
air and liquid flow so that the user can control the volume of airflow
and the concentration of liquid flow through two independent
mechanisms. This allows for greater control and a wider variety of
artistic effect. This type of air gun is best suited for face make-up as
it has total control on air flow which artists require for highlighting
and shading.
Action - Double action airbrush technique involves depressing the

trigger on the top of the airbrush with the index finger to release air
only, and drawing it back gradually to the liquid release threshold.
The most important procedural dynamic is to always begin with air
only and end with air only. By observing this rule, precise control of
liquid volume and line width and character can be achieved.

Flex Air Hose: One end of the air hose is connected to the air outlet
of the Micro compressor motor . The other end is connected to the
airbrush gun input.
Power adaptor:
Power adapter is used to provide electricity (at required amp) to the
compressor.
AIRBRUSH GUN CLEANING:

Maintaining the airbrush properly is very important to get good results. Cleaning the airbrush
properly after every use is very important. After every use, brush cleaned should be sprayed through
the airbrush so that the residual color is removed from the needle and nozzle. The front of the nozzle
should also be cleaned with brush cleaner so that no trace of color remains in the airbrush.
Empty the color cup’s excess Foundation
Add cleaning solution into the color cup

Wipe out the cup with paper towels or cotton swabs.
Pour more cleaning solution into the color cup
Spray cleaner through the airbrush until it sprays clear.
Dump out whatever’s left.
Unscrew the handle
Loosen the needle chucking nut.
Pull the needle out.

Wipe down the needle
Carefully replace the needle
Twist the needle counter-clockwise a half turn
Tighten the needle chucking nut
Screw the handle onto the airbrush body.
Spray until dry
Hang the airbrush up to dry

Followed by a Deep Cleaning if these first two methods haven’t solved the problem. Just make sure
you choose the right set of instructions.
Screw on the nozzle to the tip of the airbrush.
AIR BRUSH MAKEUP TECHNIQUE
HOW TO CONTROL THE PRESSURE :
1. Using Pressure Regulator provided on compressor: At a higher pressure level, an airbrush sprays
more product giving you less control. Lower pressure yields less product and gives you more control
over your airbrush
PRESSURE REGULATOR
2. Using Trigger on Air Gun:
TRIGGER

HOW TO SPRAY EVENLY
There are three ways to spray evenly:
»» Same Pressure
»» Same Distance
»» Circular Motion
Hold the airbrush as shown in picture below. (The airbrush shown in picture
is only shown as an example. The tail of the airbrush should sit comfortably
between the thumb and the forefinger as shown.
Switch on the compressor and first only release air and move the airbrush in a rotary action using
only your wrist. Do this for sometime so that you are able to hold and move the airbrush comfortably
before you add make-up to the airbrush.
To get good control of the airbrush first practice on a 2D surface like a chart paper.
Draw a oval shape on the chart paper like shown below
A B
Switch on the compressor. Start releasing air from the edge of the chart paper and move the
airbrush towards the edge of the oval shape. Start releasing color from the edge of the oval (Point
A). And continue releasing color in straight line till you reach the opposite edge (Point B). At point
B stop releasing color but continue moving the airbrush till the edge of the chart paper releasing
only air. Practice this till the entire movement from one edge of the chart paper to the other edge is
continuous sequence- release Air- release COLOR- stop COLOR- release AIR, without stopping the
movement of the air brush.
This control is essential since you can release only air to dry out the make-up quickly when required.
This is also essential to make sure that you first start releasing air gently and then the color, since a
sudden jerky release of color will cause a ‘splash’ effect, due to the fact that a larger amount of the
product will be released. In addition a sudden impact of air will make the client twitch or move and if
color is released together the make-up will become patchy.

By adjusting the distance of the airbrush from the paper, you can adjust the definition of the line. By
moving closer the line is defined better. By moving away you get a wider line or a larger spread. The
optimal distance is usually about 20 cms during normal work. So by varying the distance create lines
of various thicknesses.
Now on another chart paper start spraying color in designated areas like shown below:-
Use different shades for various areas and try to define the face on chart paper by placement of
colors. Move from light to dark shades. Airbrush gives you the advantage of applying color layer by
layer so that you can control the depth and coverage you require.
Once you are confident about placement of the colors on a 2D surface you will be ready to try on a
3D surface like a face.
PRODUCTS :
Primer: Made with soothing botanicals and naturally derived silicone, Primer
prepares and perfects the skin, allowing for even smoother application. Ideal for
dry and mature skin.
Foundation:
»» 003 : A soft yellow- based shade for lighter skin.
»» 004 Sand: A Yellow based shade for light to medium skin.
»» 006 Toffee: A perfect shade for medium complexion with olive undertone
»» 008 Clay: The warmest of our medium shade. Clay works well with darker Tan complexions.
»» 010 Cappuccino: A perfect shade for the deepest complexion with olive undertone
Highlighter : Highlighters to create a pearlized effect, Gorgeous on the face as well as body.
»» 050 Pink pearl
»» 051 Gold
»» 081 Natural pearl

Eye shadow / Adjusters : H.D signature adjuster shades feature highly pigmented primary colors to
customize your liquid foundations, blushers and highlighters.
»» Black
»» White
»» Red
»» Blue
»» Yellow
»» Violet
Blushers: Blushes are blended to the perfect consistency and shades. Lightly pigmented and result
in an even, radiant glow. They go on sheer or can be layered for intensity.
»» 045 Peony pink: it has pink tone

»» 044 Nectar: it has pitch tone
How to APPLY base: If needed, do the concealing manually.

»» Start applying the base in small circular motion, keeping the same pressure and distance
from the skin.
»» Begin from forehead and then gradually move on to the cheeks, nose and at last chin.
How to do highlighting:
»» Start highlighting using low pressure in small circular motion, keeping the same pressure and
distance from the skin.
»» Begin highlighting areas from brow bone, then nose bridge and finally chick bone
How to do blush on: Start doing blush on using low pressure and small circular motion.
Keep the gun at an angle from the skin and change the angle as per the face cut
How to do Eye Makeup : Make sure you use very low pressure and less distance.
Move the gun accordingly so that the color is applied finely on the desired area and does not spill

CREATING PORTFOLIOS AND SHOOTS
The application and use of make-up is no doubt one of the primary requirement for a makeup artist
for shoots and portfolio creations but in the consideration and application of make-up, the single
most important thing to keep in mind is the desired look in your ultimate photograph. Along with
Make-up s however the other technical and creative concerns of your image-making alsomust be
taken into consideration.
Important things to be considered while creating portfolio and shoots
T H E T E A M O F A FA S H I O N S H O O T:
Following are the people involved in the making of a shoot
TEAM MEMBER ROLE
Photographer To get ‘the picture’
To plan the presentation of the clothes and ensure they look

Stylist immaculate, paying attention to detail. The stylist must also ensure
the clothes are styled to suit the shoot’s design brief.
To look good and perform to the camera with the aim of selling the
Models
clothes or product
Editor, designer or To establish the brief for the photo shoot and oversee its
advertising agency implementation
Art director To successfully bring together all the elements of the shoot
Hair Stylist To translate the concept of the brief into the hairstyle
To translate the concept of the brief onto the face and sometimes
Make-up artist
the body

D E V E L O P I N G A N D C R E AT I N G A D E S I G N
»» Identify the theme or concept: For example, you are

working for a client who wants to create a set of images
that reflect the drama of Hollywood films. The styling of
the image is to be based on the genre of film noir. It is
very important to identify the theme or concept for the
creation of a Moodboard
»» Research the theme or concept: Carry out some research
to ensure your design will meet the requirements of the
brief. Begin by researching the magazine in question to
establish their preferred style of imagery. Then research
the theme and formulate some thoughts into a make-
up and hair design. Place colors swatches, photos, relevant images on the mood board
symbolizing representing the concept.
»» Making of a Moodboard: A mood board is a collage of images, pictures, objects, products,
colors, textures together symbolizing an idea. A makeup artist presents their idea through a
mood board. Mood boards play a very important part in shoots as it gives a glimpse of the
makeup to be created.
»» Create the design: Depending on the hair and make-up design you decide to create, you
must consider the most suitable techniques to achieve the desired result and employ them
effectively. You will also need to consider the choice of model carefully: their natural coloring
and general appearance will naturally have an impact on the final result.
»» Solve any problems that may occur: You may have to adapt your make-up design or product
selection to the changing circumstance, despite careful planning. If so, remain calm and
professional and remember to keep others informed of your changes and concerns.
»» Evaluate the final design and make-up application: Once you have carried out this activity,
you should evaluate your own performance and the finished image. This is important if you
are going to get maximum benefit from this exercise and improve your performance in the
future.
ROLE AND PLAN OF ACTION OF THE MAKEUP ARTIST ON THE

SHOOT
»» On arrival at the shoot, the head of the make-up team will view the clothes, discuss the
running order and construct a plan of action with the stylist, designer and photographer.
»» Once the make-up has been applied and the hair styled, you will need to maintain it
throughout the photo shoot. Most photographers like the make-up artist to stay close to
the camera but remain unobtrusive, in case the make-up or hair requires retouching. Studio
lights may cause a problem with perspiration and on external shoots consideration will be
given to environmental conditions, for example sun protection will be needed in hot climates.
»» When working on location in hot and humid climates, it is necessary to give careful
consideration to the types of products you select. A general rule is that powder-based
products will perform best under these conditions as crème make-up may melt and slide on
the skin’s surface. Never attempt to blot perspiration with powder – it will just ‘cake’ and ruin
the make-up application. Always blot moisture with a tissue first.
»» Models and actors are frequently asked to perform before the camera, under hot lights or
under less than desirable weather conditions, for long hours at a time. This adds pressure
to the make-up, too. Pay close attention to the clarity of your model’s eyes and the make-up
around them. This is where the strain and deterioration starts to show first.

U N D E R S TA N D I N G L I G H T I N G F O R S H O O T S
»» The best light to apply makeup under for

photography is natural light, because it if
the makeup looks good in natural light, it
will look nice in almost any other light. Most
electronic flash/strobe light is close in color
temperature to the color temperature of
average natural daylight. Therefore, if you
will be shooting with electronic flash in a
studio setup or outdoors, your best option is
to use natural light to apply the makeup for
the photoshoot.
»» However, if you must apply the subject’s
makeup under artificial lighting, keep the
following information in mind:
»» Fluorescent lighting will make skin look very
SOFT LIGHTING
pale and washed out. It gives off a green
color cast, which can make a subject look almost ill. Avoid this lighting for applying the makeup
if you can. Additionally, fluorescent light bulbs can have several different color temperatures,
depending on the type of bulb, and even one particular bulb can vary in the intensity and
color of light it gives off from moment to moment. It is hard to judge the true look of a subject’s
makeup under these conditions, so fluorescent lighting should be avoided.
»» Incandescent lighting (a regular, old-fashioned household light bulb), gives off a much lower
color temperature than natural and electronic flash light. The light will be a warm yellow light.
This is actually very flattering to most skin, because it doesn’t allow for detailed clarity of any
flaws. However, you want to see all the flaws during the application process, since you need
to cover them up and blend them in well for the photographs.
»» Halogen bulbs are more similar to daylight color temperature than fluorescent or incandescent
bulbs are, making them the best choice of artificial light to use if you can’t use natural light.
Some constant photography studio lights have halogen bulbs, so if you’re shooting with these
types of lights, try to use the samelights to light your model during makeup application.
»» There are LED makeup lights now available that have adjustable color temperature. If you
know you will be applying makeup for photoshoots on a regular basis and will not have access
to natural light for application, this could be a good investment
»» Different photographers will vary their working styles and preferences, and it is down to the
make-up artist to work flexibly and adapt to fit in with the photographer’s lighting. Generally
speaking, the stronger the light, the more it bleaches out the make-up. Shiny and glitter
products should be used with caution and always in consultation with the photographer, as
they may cause problems with some lighting set-ups.
»» The number one thing you need to remember about makeup for photoshoots is that the
camera never captures makeup and color in quite as much vibrancy as is visible in real life.
Therefore, it is very important that you apply more makeup for photoshoots than you would
for going out and looking nice in real life. Even if you want a subtle makeup look in your photos,
you still need to really exaggerate the makeup you’re applying, because it will not show up
as strong through the camera. Light bouncing off of makeup changes the way it looks, and
makes it look less dramatic than it really is, and we are always lighting our subjects during a
photoshoot, whether it be natural or artificial light.
»» Be sure to apply, or at least keep checking, the makeup on the model or subject under the
same type of light you plan to use to light the photos, or the makeup may look much darker
or lighter in your images than it did during application.

Keep in mind that the quality of lighting during the photoshoot will also affect the look of the makeup.
Very soft light will help smooth out details and texture, while hard or directional light will bring out
any details and texture in an image. This means that if you plan to use more directional lighting
(such as side light), you need to make sure the foundation and concealer cover well enough to
keep the subject’s skin looking smooth, even with the lighting working to bring out any texture from
imperfections or wrinkles in the skin.
You may choose to emphasize texture on the lips or eyes, in order to draw more attention to those
areas in your image. In this case, you would want to use some directional lighting to bring out the
texture of the eye shadow or lip color. If you choose to keep these areas looking smooth, you would
want to use softer light and keep the lighting more to the front of the subject.
A P P L I C AT I O N T I P S F O R P H O T O S H O O T M A K E U P
Always start with a base of both moisturizer and primer, so

that all of the other makeup will go on as smooth as possible,
to reduce the editing you’ll need to do later to hide wrinkles or
imperfections.
If the subject has red skin, use a green tinted primer or concealer
to counteract the red and save you more time editing skin
flaws.
All products you use should be matte to avoid adding any
shine to the face. The possible exception is lip color, since a bit
of shine on the lips can make lips look more full and attractive
in a photograph. Additionally, avoid using products with SPF
for photoshoots, since the ingredients can often make the face
look shinier in images.
SHINE ON LIPS – MATTE FOUNDATION
THE EYES HAVE IT!
The eyes are the focal point in most portraits, so you need to
make sure the makeup really exaggerates the eyes, so they
stand out very well. The bolder the color, the more defined the
eyes will be. Even if your subject normally wears brown or gray
mascara and eyeliner, bold black will look much better when
photographed. You want to use two or three coats of mascara
to make sure that the eye lashes will be visible in a photo.
Additionally, use an eyebrow pencil to fill in the eyebrows.
Fuller brows look much better in a photo than very thin ones.
Particularly for subjects with blond and light colored hair, the
eyebrows will not show up very well at all in a photo unless
BLENDING IS KEY – USE DARKER THAN you define them with the eyebrow pencil.
EVERYDAY SHADES
For eye shadow, use three shades, even if the color you or your subject chooses is neutral. Sweep the
middle shade all over the lid and lower brow bone, dab the lighter color at the inner corner of the eye
and apply the darker color just in the crease between the lid and the brow bone. This method creates
depth and will make the eyes really stand out in your images.

Blending is key to a great look in photographs. You know those small foam applicators that come in
the case with eye shadow? Throw them out! Use a brush to apply each color and then another brush
to blend the edges of each color, so that there’s no abrupt lines of any shadow color. Note: you can
buy specific eye shadow primer. I highly recommend using it (you would just lightly apply it all over
the lid and brow bone before you start applying eye shadow). It not only extends the wearing time
of eye shadow, but it actually makes the shadow color look much more vibrant and intense, which is
what we want in order for it to show up well in photographs. In some cases, primer can actually make
an eye shadow color look two or three times brighter than if it was applied on a bare eyelid. Do NOT
use regular primer on the eyelid; make sure you buy a primer that is specifically made to be used on
eyelids to avoid skin reactions!
When choosing eye shadow colors for your subject, you want to complement their eye color, since
you want to emphasize the subject’s eyes in a portrait. For blue eyes, choose a warm tone to balance
the cool blue. Champagne, golden brown and peach are good choices. For brown eyes, most colors
will look nice, since brown is neutral and will not clash with the shadow color. In particular, purple,
bronze and navy work well. For green eyes, plum, pink and reddish browns are good options. For
hazel eyes, gray, pink and dark purples will bring out the eye color.
False eyelashes are another option for great eye definition. Choose a full set if you want true drama
in your image; choose individual lashes if you want a more natural look in your image. Always apply
the eye lash glue to the back of your hand, and then run the lashes through the glue before placing
on your lid. Do not squeeze the glue directly onto the lashes, because if you have too much glue, you’ll
have trouble getting the lashes to lay properly.
PRODUCT CHOICE FOR SHOOTS - POWDER OR CREAM

PRODUCTS?
For blush, highlighter and eye shadow, you have the

option of powder or cream products. For beginners
who are learning about applying makeup, powder is the
better choice, since it is fairly easy to blend. Once you
have some experience with blending color on a face, you
can experiment with cream products, which typically are
a bit longer wearing, but they take a lot of work to get
the color blended into the skin.
Always use the best quality makeup that you can.

Cheaper makeup products may look cakey on the skin
or even get crease marks in them, which can make the
skin appear cracked or wrinkly. Some great options for
quality makeup products and great color options are
Pur Minerals, Cover FX and MAC Cosmetics.
CAKEY VS. NATURAL FOUNDATION
TOUCHUPS DURING THE SHOOT
At minimum, make sure you keep the concealer, powder, lip color and lip gloss handy during the
photoshoot for touchups. If you are working with flash and studio lighting, you will need to touch up
the makeup more often, because the lights will be warm and can make the makeup start to melt or
slip slightly. You will definitely need to reapply powder to ensure the subject’s face does not appear
shiny at any time. If you work with an assistant, this is a great job to assign to them.

K E E P I N G T H I N G S H YG I E N I C A N D SA F E F O R YO U R M O D E L
Don’t forget hygiene at photoshoots! If you’ll be using makeup for photoshoots frequently, invest
in good quality makeup brushes, because you’ll need to wash the
brushes regularly, and cheaper brushes may shed and fall apart after
several washes. Buy disposable mascara wands from a supplier like
Sally Beauty, so that you are not using the same wand on more than
one person.
Mascara should be replaced every three months, even if it’s been used
very little. All other makeup products should be replaced every six to
nine months, even if you haven’t used it all up by then.
If you follow these makeup tips when photographing, you will end up
with photoshoots that produce great images and happy subjects,
which will make a happy photographer!
ESSENTIAL TIPS FOR PHOTOGRAPHY MAKE-UP:
In comparison to everyday make-up, when applying make-up for photographs, apply a little more
than you would in your daily activities. The studio lights will reduce the amount of make-up that is put
on, often highlighting face corrections.
»» First moisturize the face thoroughly and then follow with the concealer. Setting the concealer
with powder between applications is very important; otherwise the layers will slide and
merge into one thick coating.
»» Next, you will want to use a good, solid foundation and apply it evenly over the face. Match
the foundation to the chin and the neckline. If you miss this step, the camera will see a sudden
change of colour from your face to the neck or upper chest. Some make-up artists even
apply make-up to the neck and shoulders to match the body to the face. Choose a thicker
formulated foundation rather than the sheers ones that are used in daily applications so
that all blemishes are covered easily. Finishes of foundation will range from matte, semi-
matte, dewy to shimmery. New technology includes the use light reflecting ingredients, which
claim to create a smooth, vibrant surface. Although they can look very attractive to the eye,
shimmery finishes can create problems with lighting on screen and photographs, so they
should be avoided.
»» As the shoot progresses, the skin gets oily or sweaty from the lights. You can apply loose
powder (and re-apply as and when required) to keep down the shine. Powder, and lots of it,
is necessary to create that beautiful matte finish which is always present in a great portfolio.
When applying powder, use a lighter shade under the eyes to help eliminate any shadows or
dark circles that the concealer didn’t take care of.
»» Contour cheeks and eyes to create a sculpted look. Be sure to blend the make-up in and not
to create distinct lines. Put the make-up on a little darker but not too heavy. Apply your blush
alittle heavier than normal but neatly and precisely and blend it with the cheekbones and
the rest of the make-up. For high fashion, blusher need not be restricted to the cheeks. For
an overall glow, whisk gently over the forehead, temples and brow bone. However, blusher
should never be used to contour the cheekbones as this will look unnatural.
»» The lips and the eyes are the two most pronounced facial features in a photo shoot. It is
important to create the right balance that will determine a good photo from a mediocre one.

Unless the photographer specifically wants to accomplish a particular look, stay away from
any frosted lip colour entirely, because they hardly show up on film and will give the illusion
that the model is not wearing lip colour at all.
»» In order to produce the best results, your eye liner needs to be applied starting from the
outside of the lower part of the eye and extending about 3/4th toward the inner part. In
selecting the eye-shadow use a light shade so that the eyes will appear more alive. A darker
shade will create the illusion that the client did not get enough sleep. There are a variety of
eye shadow finishes that one select from depending on the photographer’s desired look.
»» Frosted or metallic: This effect varies from a subtle shimmer to a dramatic metallic
effect. They are available in liquid, crème or powder. In lighter shades they reflect
light and act as highlighters.
»» Matte: Creating reliable results on camera, matte eye shadows remain a popular
choice for make-up artists. Darker shades absorb the light and are useful for
creating depth. They give the most natural finish and are an excellent choice for
the mature model.
»» Glossy: This look is generally used for high fashion images. It requires a lot of
maintenance as after a while the gloss, and whatever is under it, tends to slide
and crease. Glossy finishes should be avoided for screen work where the gloss will
resemble an oily patch on the skin.
As a make-up artist, you cannot get ride of eye bags – a good photographer will achieve this with the
use of clever lighting. Do not attempt to shade the eye bag, as this will simply draw more attention
to it or to shadow under the eye.
PHOTOGRAPHY MAKE-UP FOR MATURE MODELS:
When applying make-up to mature skins, it is important to be very gentle and avoid dragging the skin
tissue. There are certain factors that influence make-up for mature skin such as: sagging contours,
wrinkles, drier skin type, hyper-pigmentation, and loss of natural colour in lips, face and hair.

INTRODUCTION TO FILM, FASHION AND BLACK &
WHITE PHOTOGRAPHY
FILM MAKEUP
Film makeup is different than a shoot or a photographic makeup. Film makeup artists are responsible
for applying makeup to actors and actresses during filming. They play an important role in helping the
writers and directors tell a story by working closely with the director and production team to bring a
story to life.Makeup artists that work in television and film help to communicate the personality of the
characters to the viewers. They use makeup as a way to improve, enhance or alter the appearance
of the actors and the actresses to ensure that they are suitable for the scene they are about to play
out.Film makeup artists are able to accentuate features, make an actor look older or younger, and
they also work with prosthetics and masks to alter features.
T H E U S E O F M A K E U P I S D I V I D E D I N T O T H R E E C AT E G O R I E S :
»» Basic - designed to compensate for undesirable changes in appearance introduced by the

television process.
»» Corrective - designed to enhance positive attributes and downplay flaws.
»» Character - which introduces major changes in appearance
There are four different jobs in a Film makeup department. How many of these positions exist in a
project depends on the project’s needs and budget:
»» Chief Makeup Artist: They are in charge of the makeup department. They actually design
the makeup for each actor/actress and assign individual makeup artists to apply it.The role
of the chief makeup artist is to oversee makeup and hair applications during the production
process, provide working designs, organise pre-production makeup and hair and research
designs for characterisations for each actor. The chief makeup artist is fundamentally in
charge of the entire makeup department and will assign an individual makeup artist to apply
the designs. As a supervisor it is this makeup artist’s job to negotiate and work within budgets
and timescales.
»» Makeup Artist: These are the individuals who actually apply the makeup to the actor. The
makeup artist is the one who will undertake responsibilities as delegated by the supervisor.
This includes preparing artists for makeup application, performing makeup and pastiche
processes on cast members and following the departments guidelines to ensure continuity.
»» Makeup Assistant: They help with some of the lesser tasks like body makeup and organization.A
makeup assistant will be on stand by to carry out checks and make adjustments. They will
usually be asked to do anything from preparing artistes, applying and removing makeup
and undertaking research. The assistant will assist the general running of the department,
helping to take some of the strain off the makeup artist.
»» Makeup Effects Artist: They design and create special makeup effects using prosthetics,
latex, and animatronics,

THE PROCESS OF A DESIGNING A LOOK FOR FILM
Makeup artists need to be trained to deal with all types of briefs. They may be asked to create
different appearances for a character, such as a black eye, wrinkles or bloody wounds. Usually
makeup artists don’t just turn up on the day of the shoot, they spend a fair amount of time researching
and designing the makeup that is required for the production.
»» Makeup artists have to analyse characters, do research and confer with both the director
and actors in order to create the perfect look for a specific character.
»» It also involves script reading and breaking the script to understand which scene requires
what makeup. This step is very important in the entire process as different scene are shot
in various locations and temperatures. Keeping a detailed plan of the look with appropriate
products and other essential tools is a must. One of the most important and impressive
skills that a TV and film makeup artist must hold is being able to recreate makeup so that a
characters appearance remains consistent regardless of out-of-sequence filming.
»» The artist usually works closely with the costume designers and production hairstylists so
that they can coordinate colors and styles. It also involves working with producers, directors
and performers, which can be a full time job in itself.
Makeup artists are such an essential part of the entertainment industry because they are able to
breathe life into a character by making them more three dimensional.Not only does makeup artistry
allow the character to be more visually believable, it can also help the actor commit to the role
they are playing because they are able to truly believe that they have been transformed into the
character.
HANDLING FASHION SHOWS

Creating makeup for shoots and Fashion shows involves almost the same process but since the
camera and way it is captured is different, the looks differ from each other. A photoshoot involves
closer shots so a lot of perfection is expected whereas in a Fashion show makeup is captured form
the stage as well as for media publishing, so it needs to cater to both the angles.
A makeup artist is expected to work with designers and fashion stylist so mood board creation is the
same as done for shoots. Fashion shows involve working with a larger team. The other elements to
be considered are budget, Team handling.
DEVELOP A DESIGN PLAN:
It should contain:
»» The objective of the Fashion show
»» The budget you must work with
»» Preparation activities like research and finalizing the look etc.
»» Timescales (Show times & Prep time)
»» Design ideas
»» Resource requirements and where to obtain them

»» The type of Make up look
»» The venue requirements (Makeup Stations, Chairs & Lights)
»» Roles and responsibilities of others involved
»» Ways in which health and safety risk can be reduced
»» Any foreseeable problems and a contingency plan where possible
PRE-PRODUCTION:
The client determines the brief and the creative parties – the photographer, the stylist, hairdresser,
make-up artist and sometimes even the art director – discuss ideas and concepts. The storyboard,
location, clothes, props and models are chosen and it is the role of the make-up artist to translate the
original concept onto the face (and sometimes body) of the models. It is important to be thoroughly
prepared for a fashion show, although sometimes you may find yourself hired for a job at very short
notice. Ensure you find out as much information as possible about what will be required and make
sure you have the necessary equipment in your kit to carry out the job. Make certain you keep an eye
on consumable stock levels such as sponges, and always make sure you turn up for a job with clean
brushes, powder puffs and palettes.
Fir big budget fashion shoots or shows, hair and make-up artists are usually booked through
agencies. The artists are chosen in a similar way to the models – from their portfolios (also called
books) containing pictures of their work. Once the job has been confirmed, the make-up designer
will assess how many assistants will need to be hired. This will depend on the number of models and
the complexity of the work. You will certainly be required to attend design meetings, during which in-
depth discussions will take place about the make-up designer will come up with the make-up design
sheets or mood boards to communicate his or her ideas.
Once the design shave been approved, the make-up team must purchase equipment and materials
and prepare special effects such as wigs and hairpieces. It is also a good idea to contact the models
either directly or through their agency to ensure they do not have any allergies to products or brands.
The make-up and hairstyle should be planned in as much detail as possible. The make-up designer
should consult with the photographer to establish whether technical aspects such as lighting or the
type of film being used, will affect the approach the make-up design.
MAKE UP FOR BLACK AND WHITE

PHOTOGRAPHY
If a photographer chooses to shoot in black and white, he or she is making a conscious statement
about the final image. Black and white images can be very atmospheric because of the importance
of texture and lighting in the absence of lighting.
Lighting can be key with lots of lighter tones, or low key with lots of dark tones and shadows. The
mood of the make-up can complement the lighting by the use of predominantly light or dark tones
on the skin.

Tones :In black and white photography colours, will register as tints and
shades (tones) of grey. It is therefore advisable to:
»» Use neutral colors on the eyes such as browns, blacks, grays and
creams as it is easy to judge their tonal value
»» Use shades of red and brown on the lips
»» Apply contouring techniques on the cheekbone instead of the blusher,
which is used to add color to the face is not required
*For a mixed shoot of color and black and white, the adjacent colors still work
well, but you may wish to add a blusher. Avoid ‘brick’ shades as these can
look like dirty marks on the skin.
Shapes: In black and white photography, shapes take new emphasis and contouring make-up
techniques can be employed to take full advantage of this.
Contouring for black and white photography can be far more dramatic than for color mediums, as the
camera will translate shadows and highlights made with make-up as natural contours. Therefore,
contouring make-up can be up to four tones lighter or darker than the skin tone, depending on the
lighting setup. Results can be quite dramatic, with the model’s face literally being re-sculpted using
light and shade.
Texture: Black and white images tend to emphasize texture on the skin’s surface to a greater or
lesser extent depending on the photographer’s lighting. It is much easier to predict the finished
result when using matte products, although pearlized finishes, used sparingly, can be effective when
using highlighting products. Excellent communication with the photographer is important always to
establish the lighting arrangements so that make-up can be applied appropriately.
MAKE UP TIPS FOR BLACK AND WHITE PHOTOGRAPHY
»» When doing make-up for a black and white portrait, the easiest mistake to do is pack on way
too much foundation. The best part of black and white film is that it literally makes the skin
look good. So just apply foundation and concealer as you normally would if you were going
out.
»» Another important trick is to make sure that all red tones in the skin are covered. Red can
show up as gray in a black and white picture, making the skin look splotchy
»» The dramatic cheekbone look is achieved in the lighting. Just make sure to ask for “dramatic”
or “hard” light. By placing the light source on the side of the face, you get dramatic shadows
on the other side, and fantastic cheekbones.
»» Colors in make-up for black and white have a few guidelines to go by. Any make-up colors
that have a blue, red or purple shade or undertone to it will always look darker in the picture
than you thought. So, if you’re going for a dramatic look, try that burgundy lipstick for a
dark lip. Also, black eye-shadow really doesn’t show up black. It can come out dark gray in a
picture. So if you want emphasize black smoky eyes, you’ll really have to put it on.

»» If you want a softer look, all colors with a warm shade or undertone, in yellow or orange, will
look lighter than you think in will in a black and white picture. Apply it with a bit heavier hand,
and it will come out just about right in the end.
»» As far as application, focus and play up the lips and the eyeliner and Keep a light hand on
the blush
»» Keep a lot of loose powder on hand to touch up and play down any shine, especially on the
T-zone. As a professional make-up artist, be sure to bring along a couple of black and white
tear sheets from the magazines to help demonstrate what kind of a look your client might
like. Remember, this is black and white, and saying you’ll use a pink lipstick will make it hard
for your client to interpret exactly what kind of a look you’re doing.
FILM LIGHTING
Most professional still films are daylight balanced, meaning they are color corrected for use with
lighting temperatures between 5,400˚ K and 5,800˚ K. If the photographer wants to shoot in color
using tungsten lighting, there are two options: the photographer can use a blue tinted filter that will
counteract yellow / orange color cast thrown off by tungsten lighting, or purchase special still film
which is balanced for tungsten lights. This problem of color correction only applies when shooting in
color film.
Still film photography can be exposed using the following light sources:
»» Tungsten studio lighting

»» Electronic flash, which is very intense and rapid flash of light activated by a high voltage
source
»» Daylight on external shoots, which is sometimes supplemented by fill-in electronic flash

INTRODUCTION TO FANTASY MAKEUP
I N T R O D U C T I O N T O FA N TA S Y W O R L D
Fantasy makeup is any look designed to help create an experience. It’s not about blending in; it’s
about standing out.
Instead of using makeup to enhance your look, use it to transform yourself into anything you can
think up.
Fantasy makeup can help wearers pretend to be anythingie. Fairy , Vampire, Ice queen etc
Best used for shows, theaters, carnivals and other parties as Halloween and Theme.
Exotic color scheme and exaggerated eyes are the most important part of a costume. Fantasy
makeup ranges from dramatic eye makeup to completely painted faces in beautiful colors. There
are no limits to subject matter or variety, as it can entail any theme
C R E AT I N G FA N TA S Y L O O K S
Fantasy make up kits include a wide variety of make up products and accessories starting from glitter
glues, creams, color pencils and airbrush paints. One of the most typical features of Fantasy make
up lies in its typicality of producing a weird and different appearance. Use of various color patterns
and body paints are an essential part of Fantasy make up, trying to represent the distinguished
world of non-human elements
FEW EXAMPLE OF FANTASY MAKEUP

LOOK CREATION:
Lets Try our hand on Fantasy Makeup
Product Required : Foundation , Black, Brown & Beige eyeshadoe Matte Eyeshadow, Gel liear Dark
Lipshade and your Brushes
STEPS:
»» Prep and apply the foundation all over the face

»» Sculpt the entire face while playing with shadow & highlighting
»» Use the black shadow in the outer corner of the eye and one connecting to your font of the
eyebrows as shown in the pix . BLEND BLEND
»» Apply the lighter eyeshadow in the lid of the eys and blend the same
»» Using your gel linear and your thinnest linear brush start free hand drawing, starting from
front of the eyebrow moving towards the outer corner of the eye. (dnt make very sharp lines
but u can smoothen up a bit)
»» Use a Dark lipshade which is intense and apply it with precision
»» Use the linear brush and the gel linear and start drawing lines in the outer corner of the lips
STYLE UP AND START CLICKING !!!

- NOTES -

- NOTES -

- NOTES -

Certificate Course Book

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Certificate Course Book

Uploaded by

Copyright:

Available Formats

CERTIFICATE COURSE IN MAKE-UP ARTISTRY

FUNDAMENTAL OF MAKE-UP & APPLICATION IN PRACTICE

TOPICS PAGE NO.

Advance corrections and Sculpting 3

Advance Makeup styles 12

High definition makeup 18

Creating Shoots and portfolios 29

Introduction to Film, Fashion and Black & White photography 36

Introduction to Fantasy makeup 41

2 This document is meant for internal training purpose only

It is a method of creating beauty through illusion.

For precise makeup corrections

This document is meant for internal training purpose only 3

THE USE OF LIGHT - HIGHLIGHTING

Diminish the impact of the indentions on face !

Highlighting, in this case, does not mean white. Choose a

Area B: For the most unattractive puffy pouches under the

Area D: For the small pocket of shadow below the outside

Always use the method suggested : Touch and Press.

4 This document is meant for internal training purpose only

THE USE OF CONTOURING (DARK-SHADOW)

STEP 4. CHEEKBONES TO DIE FOR

This document is meant for internal training purpose only 5

CORRECTIVE MAKEUP SUPPLIES

»» Lip lining pencils in dark, medium, light

Corrective Makeup Techniques for the Face

Receding Chin: Use a lighter foundation to highlight the chin.

6 This document is meant for internal training purpose only

There 2 ways of achieving perfect dark eyebrows

Corrective Makeup METHOD

This document is meant for internal training purpose only 7

Corrective Makeup Techniques for the Eyes

Contouring and Highlighting the Eyes

DIFFERENT EYE VARIATION

8 This document is meant for internal training purpose only

This document is meant for internal training purpose only 9

Creating Perfect lip- To complete the sculped look it is of utmost

Corrective Makeup Techniques for Lips

STEP BY STEP LIP CORRECTION

Outline the center of the lower lip

10 This document is meant for internal training purpose only

Starting at the outer corners, continue outlining the contours until

Apply Lip stick.

Apply color to the center of the lower lip.

If these techniques are followed rightfully, Sculpting make up give the

This document is meant for internal training purpose only 11

NEUTRAL/ NUDE LOOK

NUDE MAKE UP FEATURES

CLASSIC MAKEUP LOOK

12 This document is meant for internal training purpose only

GLAMOUR MAKE UP LOOK

KEY FEATURES OF THIS LOOK

This document is meant for internal training purpose only 13

14 This document is meant for internal training purpose only

A professional makeup artist understands how a beautiful makeover

TRADITIONAL BRIDAL LOOK

A look which depicts culture and ritual of individual state. Traditional

KEY FEATURES OF BRIDAL MAKEUP:

This document is meant for internal training purpose only 15

Contemporary make up is a blend of classic and modern look, use of new

KEY FEATURES OF CONTEMPORARY MAKEUP

16 This document is meant for internal training purpose only