Makeup Design, Chapter 12, Pivot Point Esthetics
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| Law of Color | States that, out of all of the colors in the universe, only the three primary colors are pure.
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| Primary/Pure Colors | Red, Yellow and Blue. These colors cannot be created by combing other colors. However, when mixed together these colors create all other colors.
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| Secondary Colors | Orange, Green and Violet.
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| Tertiary Colors | Created by mixing a primary color with a neighboring secondary color.
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| Color Wheel | Tool in which the 12 (3 primary, 3 secondary and 6 tertiary) colors are positioned in a circle.
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| Position of colors on the color wheel | Demonstrates the relationship of each color to the primary color.
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| Complementary color | Colors located directly opposite one another on the color wheel.
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| Hue | Another term for Color
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| Tint | A hue with white added.
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| Shade | A hue with black added.
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| Value | The lightness or darkness of a color.
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| Intensity | Refers to the vibrancy of a color.
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| Tone | Refers to the warmth or coolness of a color.
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| Monochromatic color scheme | Uses the same color with variations in value and intensity throughout the makeup design.
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| Analogous color scheme | Uses colors that are adjacent to each other on the color wheel and is often used for daytime makeup.
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| Triadic color scheme | Use the 3 colors located in a triangle position on the color wheel and is often used for vibrant effects.
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| Warm and Cool | Terms used to describe the tones of colors and the skin.
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| Warm colors | Contain red or yellow undertones. Generally categorized in the Orange and Red half of the color wheel.
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| Cool colors | Contain Blue undertones. Generally categorized in the Blue and Green half of the color wheel.
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| Neutral colors | Tones that are neither warm or cool.
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| Contouring | Also known as shading, means to create an outline, especially of a curving or irregular figure or shape.
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| Highlighting | Used to enhance features, making them appear larger or more prominent and well proportioned wit the rest of the face.
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| Chiaroscuro | The art of arranging light and dark so as to produce the illusion of three-dimensional shapes.
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| Oval | Face shape that is generally the most symmetric and balanced. Considered to be the ideal or classic shape.
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| Round | Face shape that is circular, appears to be short and wide rather than long and narrow. Characterized by a rounded hairline and chin-line.
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| Oblong/Long/Rectangular | Face shape that tends to be long, narrow and angular. Can be visibly shortened by applying deeper tones under the chin and horizontally at the temples.
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| Pear | Face shape that as a narrow forehead and wide jawline.
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| Square | Face shape usually characterized by broad, straight forehead and hairline as well as a broad jawline.
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| Heart | Face characterized with a wider forehead and narrow jaw.
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| Diamond | The face shape featuring a narrow forehead, extreme width through the cheekbones, narrow chin and jawlines.
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| No Eyebrows | Can make face appear expressionless.
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| Thin, sculpted eyebrows | Appear dramatic and can make the eyes seem close-set.
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| Classic | Well positioned arches that help create symmetry while framing the eyes.
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| Horizontal | Often have a slight downward slant on outside edge. Can create a sad, worried look.
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| Thin, high eyebrows | Cause the forehead to appear narrow because they are positioned higher up. Often very rounded, they create a surprised facial expression.
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| Full | Eyebrows that, due to their heaviness, accentuate the the qualities of the line and position in which they are created.
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| Eyebrows placed too far apart | Make the eyes appear farther apart and can make the forehead appear wider.
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| Natural eyebrows | Typically have stray hairs and do not create a definite line or effect.
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| Deep-set eyes | Require little contouring. Light and bright colors help bring recessed area forward.
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| Drooping eyes | Lifted by applying dark shadows and liners in upward motion.
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| Almond eyes | Classic shape. Enhanced by defining natural shape with smudgy liner.
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| Wide-set eyes | Can appear to be deeper and closer together by concentrating and blending shadows in inner corners, then softly blending to bridge of nose.
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| Close-set eyes | Can be drawn outward by applying eyeliner to the outer edges of both the top and bottom lids extending the lines outward. Extending the outer edges of the eyebrows may also be helpful.
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| Small Eyes | Benefit from brighter colors and soft shading of both upper and lower lids, which helps to define the eyes. Contouring above the natural eyelid creates an open spacious feeling.
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| Bulging Eyes | Benefit from contouring the protruding lid. Lower lids and tops of eyelids can be lined with a very deep eyeliner of the same color, then connected at inner corners.
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| Asian Eyes | To enhance add deep eyeliner at the base of lash-line, where thickness is toward the inner part of the eye. On lower lid thicker liner can be applied at the outer edges, thinning to inner part of lid. Neutral color inner corners to just above iris.
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| Hooded Eyes | Can be enhanced by receding fleshy area of upper lid using a medium shading color in inner eye area.
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| Full top lips | Balance by lining slightly inside the natural shape.
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| Uneven lips | Compensate by creating an asymmetrical line on the side you choose to match.
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| Downturned Lips | Create a line toward the outer corners that extends just above the natural fall.
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| Small lips | Outline just pat the outer edge of the natural lip-line.
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| Thin lips | Draw line beyond natural lip line and create a high point at bow of upper and center of lower lip.
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| Full lips |
Line upper and lower lips inside the natural lip line.
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| Full bottom lips | Balance by extending beyond the natural upper lip line then draw a lower lip line that is within he natural line.
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| 45 degrees | Maximum number of degrees the chair should recline when applying makeup in order to prevent the appearance of flattening your clients face.
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| Creme to powder and powder foundations | Known as "one-step" or "dual finish" products because they combine powder and foundation in one step.
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| Liquid | Most common form of foundation.
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| 2 basic liquid formulas | Oil-free/water based (for oily complexions) and Oil-based (for dryer skin types).
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| Creme Foundation | Has heavier consistency and used when additional coverage is needed.
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| Pancake, pan-stick, greasepaint | Oil-based foundations that are used when heavy coverage is needed. referred to as maximum coverage and can be applied with damp or dry sponge.
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| Suitable for most skin types | Liquid foundation
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| Appropriate for Oily skin | Water based or oil-free foundation
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| Appropriate for dry or mature skin | Oil-based or moisturizing foundation
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| Match foundation to skin | General guideline unless correction is needed.
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| Cool Undertone | Blue/violet, Reddish/red-violet (skin tone)
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| Neutral Undertone | Brown/Grey (skin tone)
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| Warm Undertone | Light peach, Yellow, Medium peach (skin tone)
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| Translucent powder | Designed to allow skin and foundation shade to show through.
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| 3rds of eye | Eyelid, crease (or fold) and brow bone.
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| Well spaced eyes | Have width of one eye between them.
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| Wide set eyes | Have greater than one full eye space between them
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| Close set eyes | Have less that one full eye space between them.
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| Eyeliner | Used to accent the eyes and enhance the thickness of the lashes.
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| Mascara | Define, thickens and lengthens the eyelashes.
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| Lip liner | Applied around the outer edge of the lips to define the shape and prevent lipstick from bleeding onto the skin around the mouth. May also be used to visually correct imperfections in lip shape.
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| Makeup application | 80% art and 20% science
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| Camouflage Makeup | Used to normalize , or correct, the appearance of clients who have experienced disfigurement.
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| Powder | When used in contouring and setting it creates a matte finish.
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| Used to create a longer look on a round face | Blend contour down from cheekbone.
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