The contouring is a makeup technique that uses shade and light creating the illusion of changing the shapes of faces, like a magic trick. With this technique, a round face shape will not become oval face shape, but it can create the illusion of definition of the ways that is not a characteristic round face shape, as lifting the cheeks. It's the same for a person who is overweight wearing a black outfit, she will give the impression of being thinner, but his kilos remain the same. So it is not advisable to use this technique very sharply for the day to day because those who look closely will realize that it is makeup. But for a photo or filming, she's perfect.
Before his big explosion in social media, this technique was a trick almost exclusively of makeup artists.
BRIEF HISTORY CONTOURING
Many people think that the contouring was created by makeup artists today. However, the technique has existed since the late nineteenth century. What we see today is a globalization and popularization of technical process, carried out by people who are not professionals, which is boosting the occurrence of some confusions, distortions and misconceptions. In this sense, the first step towards a complete and accurate understanding of the technique necessarily should be given towards the story, rescuing the contributions of those who are best remembered as responsible for the creation, dissemination and implementation of contour.
PERIOD MAX FACTOR
In the late nineteenth century, Mr. Max Factor was largely responsible for the production, commercialization and application of the first film makeup products.
He was also the first to market makeup to the public, launching a line of cosmetics with the name of makeup, name created by him. For this reason, he is considered the father of makeup.
As can be seen in old publcações (Hollywood magazine), Mr. Maksymilian Faktorowicz already employed the term contour, and techniques used to enhance or minimize the cheeks using the blush.
PERIOD OF DYNASTY WESTMORE
The Westmore family emerged as film makeup artists already in the last years of Max Factor, having dominated Hollywood for many years.
The patriarch George Westmore started at Metro Pictures in 1917, and six of his children (Monte, Perc, Ern, Wally, Bud and Frank) worked as makeup artists in almost all Hollywood studios, among them Selznick International, Warner Bros., the 20th Century-Fox, Paramount and Universal.
After studying various face shapes in Hollywood, they concluded that the oval was the most perfect for the makeup and wore the contouring technique to let the faces of the artists closest to the oval.
They beautified the face of many Hollywood beauties, including Bette Davis, Elizabeth Taylor, Sandra Dee and Farrah Fawcett. Also, stood out in the artistic make-up and special effects, among his iconic works are: the Hunchback of Notre Dame, The Man Of A Thousand Faces and Dr. Jekyll.
What Bud Westmore considers right and wrong in applying the contours on some of the different face shapes
PERIOD KEVYN AUCOIN
Until shortly after the mid-twentieth century, the boundary techniques were very restricted to film niche.
In the 80s and 90s, Kevyn Aucoin is responsible for the technique becomes known through his work with models and celebrity magazine covers.
Kevyn was born in Louisiana in 1962 and died in 2002.
In the early 80s, he moved to New York without a formal work or credits on your resume. After a chance meeting with Vogue magazine photographer, his fate was sealed. In the 80s and 90s, he was responsible for several magazine covers and makeup for celebrities such as Barbra Streisand, Julia Roberts and others. In 1983, Revlon Kevyn Aucoin hires at the age of 21 years as Creative Director for its prestige cosmetics line Ultima II, an innovative line which were in stark contrast to cosmetics available. It was the first time a major company launched a line based solely on skin tones, because until then, the makeup was for white and black fur, and pink tones. He created the chandelier, serving as inspiration for the products of large current brands.
Kevyn Aucoin was known for making makeup application techniques accessible to all. And then there was the art of sketching, his work had a greater recognition. In one of his books, he said, "The face is made up of areas that protrude and recede By playing with the base colors, visible or subtly darker or lighter than your own skin tone, you can create amazing and dramatic results .. A nose can be tuned, an eyebrow can be lifted one cheek can be carved. "
For him bright colors designed to face and dark colors created shadows, retreating faces.At the height of his career, a makeup session had to be booked months in advance and can cost US $ 6,000.00.
Despite his premature death in 2002, the legacy of Kevyn lives through its tested techniques and integrated today in his best-selling books and his makeup line.
HOW TO APPLY THE CONTOURING FACE IN DIFFERENT SHAPES
Just like the pros mentioned above, I also agree that every face has its own forms and characteristics and make-up application techniques must be based in each of these forms.
In my opinion, the two biggest problems of these videos that exploded in social media, teaching to do the outline, is to use, in most cases, a technique such as one, regardless of face shape and apply an excessive amount of product.
The contouring is not a mandatory rule in makeup, it should be used only if the person wishes to correct imperfections that bother, as a large nose or too full cheek or to create the illusion of molded face. It is not necessary around the entire face to correct a localized imperfection. For me, the contouring should not much change the facial features.
The dark shadow effect can be done with two bases, one of your skin tone and the other two shades darker. Or a cream or liquid concealer two shades darker and the base skin tone. In this case, apply the base or darker concealer where you want to create depth effect and makes the cover with the base of your skin tone. Taking care to leave everything and uniform.
Another way is to use a bronze powder or blush opaque two darker shades and apply them over the base in the region that want to create the effect of depth. This technique is for those who want a more subtle contour, my favorite being for use in day-to-day.
The effect light serves to highlight the positive points of the face or to draw more attention to a certain place, decreasing attention to regions that have been shaded. To create this light effect you can use an illuminator applying over the base in the region you want to highlight. One can also use a foundation or a concealer two shades lighter applying in the region that want to enhance and harmonize with the base of your skin tone.
See how aplcar outline the different foematos faces.
A striking feature of this face shape are the angular shapes (straight lines with little curved). You can minimize this characteristic, sombrei the side of the forehead, through the temples to near the chin. Then make a drop shadow in the malar bone (cheek bone) to the beginning of the temples, as illustrated above.
Apply the illuminator in the center of the forehead, the central bone of the nose, the furrow between the mouth and the nose, and chin to minimize the attention of the shaded regions. Also apply the illuminator in the area above and below the eye blush.
This face shape has the cheekbones and the angular sides, ie, form straight lines. So if you want further enhancing apples and minimize the angles apply the shading in the cheekbone through the wings. Another feature of this format is that the forehead is narrow and a great height. So to give an impression that the height is lower, sombrei the central edge of the forehead
To draw less attention from the shaded area on the forehead, illuminate the area just above the nose and, if desired, the central bone of the nose.
This face shape has a wide forehead, to create the illusion that the forehead is closer sombrei the side. Another feature is that the sides of the face are straight, then sombrei the same through the cheekbone. The chin, this face shape is thin, so avoid shadowing.
As the forehead is broad avoid light. Use the illuminator on the chin to give the impression of being wider and, if desired, the central bone of the nose.
The oval face is considered the most perfect for the makeup due to the balance of its proportions, with only the forehead slightly wider than the chin. This face shape needs not much of outline, but if you wish, sombrei the sides of the forehead to let it symmetrical with the chin down this outline his temples and go through the cheekbone to give more prominent cheeks.
If desired, you can illuminate the central region just above the nose, down this illumination by the central bone of the nose, through the groove which is above the lips and finish on the chin.
- TRIANGLE INVERTED
This face shape has very fine chin and the sides straight. Because chin is rather thin, his forehead gives the impression of being wider, so sombrei the side of the forehead, and scroll down to the cheekbone, through the face side. Do not apply shading on the chin not to make it even thinner.
Light the chin and the area above the apple of the cheek.
In this test the face shape is narrow and face the side will be extending to the upper jaw. So to slightly decrease the width of the face side apply until near the lower jaw shadow, through the cheekbone.
To draw less attention from the side, light the imaginary line from the top of the chin forehead, through the central bone of the nose. If you want, brighten the area above the cheeks and under the eyes.
This face shape, the angles are poorly defined and apples of cheeks are hidden face due to the fact of being too full. To create the illusion that the apples of the cheeks are slightly protruding, sombrei the cheekbone, through the face side and go down a bit near the chin to minimize the rounded forms.
To draw less attention from the rounded shapes, light the imaginary line between the forehead and chin.
This face shape has similar characteristics to the square shape, but is longer and slightly narrower. Do shading on the side of the forehead, through the temples to near the chin. Then make a shadow on the cheekbone to the beginning of temples, as illustrated above.
Apply the illuminator in the center of the forehead, the central bone of the nose, the furrow between the mouth and the nose, chin, and also in the region above the cheek and below the eyes
CONTOURING DIFFERENT TYPES OF NOSE
- LARGE NOSE
For those who have that kind of nose, the goal is to let it thinner, so sombrei the two sides since the beginning of the eyebrows to the tabs. To create a greater contrast to the shaded area, highlight the central bone of the nose.
- FINE NOSE
For this type of nose trick is used in the opposite broad nose, ie illuminate the side since the beginning of the eyebrows to the tabs and sombrei the central bone of the nose.
- WITH TABS OPEN NOSE
That's when the nose is thin in length, but has held open tabs. For this type of nose, the trick is to shade the tabs and illuminate the upper side until the beginning of the eyebrows.
- WITH ROUNDED TIP NOSE
At length, he is thin and the tip is well rounded. For this type of nose dim the tabs and the side of the top of the nose, from eye line to the beginning of the eyebrow. Then, highlight the middle of the central bone to give an impression that this area is greater.
- WITH THE TIP BENT DOWN NOSE
This nose model has a high center and a fallen tip. The secret is to illuminate the area between the start of the eyebrows to the line of the eye.
ILLUSTRATIONS OF TWO TYPES OF NOSE WITH CONTOURING