Grimas | Stepmother

APPLYING A BASE

Now apply a base using Crème Make-up Pure. Apply the make up on top of the Eyebrow Plastic too.

Take the Crème Make-up Pure out with a clean spatula and work from the spatula. Apply it with a slightly damp latex sponge or make-up sponge onto the skin. Work the base out properly, up into the hairline, and do not forget the ears and neck. This is how you avoid a mask-like effect.

The waxes and oils allow Crème Make-up Pure to be blended away easily, making it excellent for highlights and shadows, both for beauty (shaping, modelling) and theatrical purposes (ageing, creating various characters, effects).

CRÈME MAKE-UP PURE = Crème Make-up Pure

EYEBROW PLASTIC = Eyebrow Plastic

SHADOWING

You draw the lines with a flat sable-hair brush. By placing it obliquely on the skin you get a sharp edge on one side and a fading effect on the other side. To determine which side should be sharp and which side faded, you start from the centre of the face (nose). Create a fading effect towards the outside.

If you extend sharp lines, for example by extending the naso-labial fold line downwards, this will give a negative and even rather mean effect. You draw the dark corners of the mouth in the downward direction. The sagging mouth expresses dissatisfaction.

If the non-shaded parts are lightened, this will enhance the effect of bringing those areas "forward".

On top of the model's own (hidden) eyebrows you apply eye shadow, which makes the eyes appear larger. Eyeshadow/Rouge and Pearl Eyeshadow are very colour-intensive.

You draw the eyebrows and the lines around the eyes with an eyeliner. Because of the oblique shape of the eyebrows you enhance the angry effect.

You can make an eyeliner with Grimas Eyeshadow/Rouge and a little Cleansing Lotion.

Scrape a little Grimas Eyeshadow/Rouge loose using a spatula or the back of a brush. Take it up with a brush that has been moistened with Grimas Cleansing Lotion and mix it on the back of your hand. Apply the eyeliner with an MR 1 or MR 2 brush.

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