Eyebrows tips and tricks everyday wear and tattooing

 

 

 

 

 

This is the week 241 and here we are sharing a post on Eyebrows. In the many years of my makeup career, one of my passions it’s been eyebrows. My point of view is that you can build and change a character with a few strokes, eyebrows not only frame the eyes, they have the ability to create moods of expressions. Here we offer tips and bits of experience and research of years of collective work. We are sharing answers to questions regarding what to look for in cosmetic tattooing work also. Enjoy and please feel free to write us an email at isabelsbeautyblog@gmail.com if you have further questions. It is a lot of information that we edit so we can keep the attention of all walks of readers. We wish to thank you once again for all your support , please remember to share and like It is an important part of our blog.

 

 Eyebrow Drawing Guidelines

 

Beginning Of The Brow

Expert advice teaches that eyebrows should start above the inner corner of the eye.  Sometimes the brow is pulled out or in a little depending on how close or wide set the eyes are. This is of importance due to the fact that that proportion can either make the person look cross-eyed if the bridge of the nose is smaller and if the face is round, and the eyebrows are to separate it makes the face look rounder and the eyes smaller . Pulling the brows abnormally close together for the purpose of slimming the nose starts working against you and will make the nose look more prominent or look angry. Some beauty tips say to put a pencil straight up from the outer edge of the nose, but may not be so accurate  because there are too many variations in nose width.  A little more precision is needed if it will be a permanent eyebrow because it is there to stay, is a good rule of thumb to have the technician draw the eyebrows in first to give you the look that will be final, because once is there  is not much to take the power of desition in your hands, cut pictures from a magazine or bring references to the actual day so you have what you want everyone has their own taste of what a good look is but it may not be for you just take a look at how many “Beauty” procedures go wrong it may look good in their eyes but not on you , better safe than sorry,. I mark the center and measure distance from this point to the start of each brow. This works most of the time. However, nothing can be taken as ever, never or always and  you can make adjustments before you draw it ll the way, is some great stencils that you can use to try different looks.

 

 

Stencil work

You can always use stencils to shape the eyebrows if the proportions are too much to handle on an everyday basis, you can get them on Amazon or Ebay for very little money and some like the ones below in the picture are adhesive so it give you more flexibility , be gentle when you remove them so you don’t pull the delicate skin of the eyelid, these stencils are good to use for plucking  hair also.

 

 

Arch Of The Brow

The break of the eyebrow arch should be in the area above the outer edge of the iris while focusing straight ahead. This will be a little short of two-thirds. You can move the arch out a tad to widen that side of the face, or for other preferences, keep in mind a balance. Beauty tips often say 2/3, or to line a pencil from the outer edge of the nose going up along the outside of the iris and breaking where the pencil hits. The two-thirds is one-fourth inch too far out for the average face. The pencil or a long brush from the nose puts the arch even farther than 2/3 unless you are making an extra long wrap around the temple brow. Again, there are variations in nose width that would fan the pencil in or out. Other variations include length of the eyes and how close or wide set they are.

 

The shape of the brow and the entire arch should be seen from the front of the face. The head should not have to be rotated to see the whole brow. The last half inch may start disappearing from the frontal view, but not an inch or more. Too many faces have the arch out too far. It looks like that part of the head was stretched out horizontally, or the brows are too big for their face. It also makes the eye length look shorter. We don’t want to return to the 50’s center arch and look surprised. The best look for the arch is almost two-thirds. Factors that affect the need to move it in or out a little bit include brow size and shape, sharp or smooth arch, face size, and face shape.

Ending Of The Brow

 

The tail end of the brow is marked by placing a pencil or a brush from the center of the lip traveling up along the edge of the outer eye. The mark is made on the inside of the pencil. Variations in face length, face width, eye length, and how close or wide set the eyes are may require moving this mark in or out . Most Beauty tips say to go from the outer edge of the nose, but noses have different widths that would cause this line to fan in or out. The center of the lip stays the same.Is many different looks that can be accomplished by lifting or lowering the outside tip of the brow you can rather lift or drooped the look of the eye and the face for that matter.

 

According to most eyebrow experts, the ending tip of the eyebrow should be at the same level as the beginning, this can vary depending on the effect you wish to accomplish. A small difference is not noticeable, and the contours of the skeletal structure and fat pads may dictate some modifications. An example is, tails ending lower than a small amount below the beginning look sad or aged. my dear friend Leonard Engelman once told me that he likes to end the tail of the brows a bit higher than the inside if the brow that made the eyes more a life I fully trust him with any tips he is an amazingly talented makeup artist that has many stars under his belt Cher for one Anne Margaret, Meg Ryan and so many more he is very tasteful and incredibly skilled artist.

 

 

Eyebrow Styles

 

Basic Eyebrow Shape Guidelines

Eyebrow measurement guidelines are meant to assist in optimizing an individual’s brow shape, there are many companies that offer stencils to aid with shape if you have any doubts. For maintaining brow hair growth in the designed shape when considering  permanent eyebrow tattoo, working with the hair growth pattern is preferred to shaving and redrawing most likely you will be happier. The eyebrows do not have to be shaved to apply permanent cosmetics Tattoo needles go around and between the hairs when it is done correctly. The eyebrow shape can be enhanced toward the shape desired by coloring high in the hairs at the arch, in the middle or as needed in other parts. If a part of the eyebrow, such as the outer portion, does not allow the shape you want, then you can tweeze . The outer brow hair is usually sparse and not an issue for many people. Hair in the inner portion is usually plentiful, and at least part of the hair growth should be incorporated into the design. Eyebrows are drawn on first. When you are happy with the drawn on design, permanent makeup is applied on top of it, using it as a pattern or guide. You may draw them yourself, or let the tattoo artist help you. If there is a particular shape and thickness you want, bring pictures from a magazine to your appointment. This will save time and eliminate any miscommunication about your preferences.

Drawing Eyebrows For Face Shapes And Facial Features

Uneven eyebrows may affect the shape you wish to attain. We are all born with one eyebrow shaped differently than the other, like one side of the face is different than the other or one brow higher than the other. Uneven eyebrow height usually occurs later in life as a result of the aging process. One side of the face will be lower than the other, and it is almost always the side you sleep on. The pressure on the skin decreases circulation for hours while sleeping, plus the skin gets pulled and slid around when I work on faces, I can always tell the side they sleep on. They usually have a crease and definitely sags more, as a well-known dermatologist that I visited told me that was my weak side! Ah didn’t like that. Women often appear to have uneven eyebrows because of the habitual raising of the forehead muscles – one side higher than the other –  Interestingly, the brow that women raise higher is actually the brow that is lower in the relaxed position . The muscle gets stronger and stronger, able to raise the brow higher and higher. Remember what Mom said is that if you keep making faces your face will freeze that way?  Some of the brow-raising women cannot relax their forehead muscles when they try and not only affects the brows it also affects the creases we make. Sometimes, older women are raising eyebrows to open the eyes more to see better that is one of the trades that plastic surgeons look for when assessing the eyes for a lift, and by the way, Insurance covers the upper blepharoplasty lid surgery the reason being off site obstruction !!. Sagging upper eyelids weigh down the eye and decrease, a visual field a test will show that lateral  peripheral and superior upper vision is affected. If the eyebrow is sagging below the brow bone orbital rim, insurance may pay for a direct brow lift (incision above the brow – not an entire forehead lift).

If one eyebrow is lower than the other or shaped a little differently, you have three choices:

1) Leave them uneven because you want all your real hairs to be growing in the permanent makeup area

2) Make small modifications to improve symmetry (color high on the low side and color low on the high side) – a compromise that would reduce but not eliminate eyebrow hairs in the cosmetic tattoo area, and may still be a little asymmetric

3)Remember we are not Robots similar eyebrows is good exactly the same no so good, it looks weird

 

Many women have not noticed that their eyebrows are not the same, and are less likely to notice it on other people. On the other hand, there are some eyebrow obsessed fanatics that are as upset over a one hair difference as an anorexic is with a one-ounce weight gain. We want to get the two eyebrows as similar as possible, but each side of the face is different – which is why it is of importance to keep it in mind  and it can be time-consuming to draw the eyebrows the same every morning. The shape of the skull differs from one side to the other in the curvature of the frontal to temporal bone, the prominence of the brow ridge, and the indentation above it each side of the body is different for a reason,masculine, and feminine, left and right has a different use and development. The contour of fat tissue is also different on each side. Each side of the face has its own set of muscles, nerves, and blood supply. Often, one side will be the dominant, stronger side. A person will typically raise the same brow to vary degrees all day long without realizing it. This adds to the challenge of drawing eyebrows evenly each day. Women tend to raise a brow when focusing in on something – like themselves in the mirror. One side of the forehead muscles tenses unnoticeably as you concentrate and become irritated by multiple attempts to complete the task. When you finally reach a satisfactory result, you go finish the morning routine. One last glance in the mirror and AYYYY ! they are uneven after you relaxed the muscles. The eyebrows are going to be in varying positions all day as you work and interact with others, especially if you have a tendency to be very expressive.

A note of caution: When drawing your eyebrows in preparation for cosmetic tattooing, this same thing can happen. The brows can be drawn on; look even, tattooed, and then later looks uneven. One of two scenarios can occur. 1) The muscles were tense and raising the skin unevenly at the time the eyebrows were drawn. They were thought to be even and were even – in the tensed muscle state. Once relaxed, they are uneven. 2) The muscles were relaxed at the time the eyebrows were drawn. They were thought to be even and were even – in the relaxed muscle state. Once you return to your normal raised brow position, they are uneven, so is a very good measure to pay attention to the process so you don’t want to erase your artist from the face of the earth, a well trained professional will be swear off this habits.

If a person raises a brow briefly or occasionally, the brows should be drawn evenly in the relaxed position. If a person keeps the same brow raised almost all the time, the raised side can be drawn slightly lower and flatter to compensate. If you are drawing the eyebrows yourself, do it hours before your appointment so you will have plenty of time to recheck them. If you are letting the permanent makeup artist draw your brows, your forehead will be most relaxed while gazing downward at the floor (but keep the head up straight). Don’t close your eyes because the lack of visual stimuli makes you more sensitive to touch and forehead muscles will tense when you have nothing better to do than wonder what is going on with your eyebrow shaping. Looking at the artist or straight ahead may cause the muscle to tense and raise a brow.

BOTOX VS FACIAL EXERCISING

Repeated facial expressions leave wrinkles in the skin. The forehead over the raised brow will have more wrinkles and/or a different pattern of wrinkles. A person could try to break the brow raising habit by training not to react with the forehead. Placing a strip of tape( brownies)  upward from the brows can serve as a reminder every time you contract the muscles. Botox shots paralyze the muscle to prevent contraction and give the skin a chance to smooth out. It also helps the muscle forget what it was constantly doing (raising) and helps weaken the too strong hyperactive forehead muscles. It wears off in about four months for most people are different. After many repeated injections, it begins lasting longer and the muscle may become permanently paralyzed Mhmm!.  Vendors of facial exercising gadgets like Flex Effect tell us that deteriorating facial muscles cause facial sagging and that exercising these muscles will lift and tone the face, and increase circulation to feed nutrients to the skin.I like Microcurrent to retrain the muscles it really works and very fast. Lack of muscle use leads to atrophy. Daily exercise, which would contribute to strengthening the facial muscles and increase circulation is a great approach. There are electronic muscle stimulators like the Face master from Suzanne Somers that can give maximum muscle contraction with minimal skin disturbance in the contrary it will regenerate the muscles and the overall of the face. My opinion is that occasional Botox injections are beneficial for preventing wrinkles, but the muscles should be given a period of normal activity before repeat injections. How long the time lapse should depend on the severity of the case.

 

BOTOX AND PERMANENT MAKEUP

Botox is used in various areas for specific effects. Injected into certain locations of the forehead, it can raise the eyebrows. If botox is raising the brows at the time they are drawn for the eyebrow tattoo, the brow placement and shape will be different after the botox wears off. An eyebrow tattoo should be timed before or after the brow raising technique is in effect unless you plan to have repeated injections forever. Worth mentioning is that when the brow is raised by botox, it pulls the arch out in the spot that the botox determines, it can make the arch too far out by the pull and the shape looks a little odd.

Choosing an eyebrow color

Perhaps you change shades of hair color throughout the year and are concerned about the shade of permanent eyebrow color. The implanted color will coordinate with slight to moderate hair color changes. For more drastic hair color changes (red to brown,etc), all it takes is an appointment with your cosmetic tattoo artist after the appointment with your hairdresser, keep in mind the hair color changes so you keep up with the initial choice. You can change your eyebrow color in the same amount of time it took to color your hair. If you expect a drastic color change to be temporary, you might want to apply  temporary eyebrow color on top of the eyebrow tattoo during this time.

The guideline is to choose eyebrow color 1 – 2 shades lighter than head hair, unless you are blonde or gray, in which case you would choose a couple shades darker. You are not matching the color of your eyebrow hairs, merely creating a shadow behind it.I prefer their shades so they look more natural like real hair shades.

For women with little or no eyebrow hairs, the best technique will be to use at least two to three shades of color drawing Hairstrokes.!!! ideally not a plank of solid color it looks very unnatural and heavy. Multiple colors prevent the ‘blackened in’ look, and hairs are not just one color – they have many shades. The planned eyebrow shape should not be outlined, then filled in — this produces a “coloring book” look (the way children outline & fill in). Using the brushstroke technique for eyebrow cosmetic tattooing results in a very natural appearance. The edges will be more feathery instead of a sharp painted on look. The most natural looking brows are made by using 2-3 tonnes of brushstrokes on a soft powdery base shape.

 

“Layering” describes subsequent touch-up visits for a few additional strokes of same (monochromatic) or similar (analogous) color to produce varied depth and dimension. The monochromatic look is variations of lightness and saturation of a single color. The analogous look is one color being used as the dominant color and similar colors are used to enrich the look. The analogous scheme is similar to the monochromatic but provides more contrast. Recent strokes blending with older strokes which are fading off produces an awesome dimensional look. When this maintenance is performed on a regular basis (2-3yrs light blondes, 4-5yrs medium browns, 6-7yrs dark browns & black), you only pay a touch up layering price which is half. If you wait until the brow color is all or almost all faded off, the work is the same as a new job. If you want to reshape the brow, let it fade off as much as possible and do the different color strokes with temporary eyebrow colors. Don’t forget the fact that in three or four years the brows may have changed their shape or amount of hair.

Eyebrows are so important in the expressions and shaping of the eyes and face ,they play a dominant role. Eyebrows not only suggest a variety of moods but can also show your stages of age, emotional reactions and state of mind. If they are too thick, too thin, or arched incorrectly, you can look tired, depressed, angry, or surprised. Cartoon artists and theater makeup artists rely heavily on the eyebrows and mouth to not only convey feelings but also to help create the illusion of the character to be portrayed. Certain eyebrows and mouths are associated with certain personalities: smart, dumb, strong, weak, evil/mean/scary, nice, glamorous, young, older, and on and on. For instance, a skinny brow highly placed and highly arched would be more suitable for a damsel in distress than a woman of power – which would need a stronger brow placed low to medium with less arch. The villain usually has angry eyebrows. To make someone look like an alien from another planet, they usually upswing the tail or remove the brows altogether.

 Not so good brows

 

 

 

 

The surprised or startled look is avoided by placing the peak of the arch closer to two-thirds out instead of in the center of the eyebrow, and not over exaggerating it. A highly arched rounded half-moon arches have vein used for clowns for an example. Eyebrows that end higher than the beginning can look angry, devious, or alien-like Spock on Star Trek. Eyebrow tails that end too low have a whiny, sad or depressed  giving up look. You want your brows to represent you well. If the tail is too short, the brows look unfinished or like part of it was wiped off accidentally and don’t support your eyes. The tail should not be too long either – some people extend them way out through the temples like in the 1930’s. Brows should be a little thicker at the beginning and taper in thinner towards the arch. The tail continues tapering into the end. The beginning of the eyebrow should be above the inner corner of the eye, and should not have a downward hook that makes the brow look like you are frowning . That look closes  the eye and makes it look smaller.

Have you ever noticed the many different eyebrow shapes? Do you know what you do or don’t like? How much curve or arch do you like? How smooth or sharp do you like the arch? Do you like your eyebrow styles thin, medium, or thick? The eyebrow pictures will provide comparisons. It is a good idea to collect photos of different eyebrows and match it to your style of face and the expressions that you are habitual with so at the end of your decision they go with your persona  instead of obviously not belonging on your face, it will be too late and they should be a complement.

Beauty tips are only suggestions, and it is wise to follow your choices with the help of a well trained professional. I recommend a couple of opinions at least in the case of permanent and nonpermanent eyebrow shaping. Don’t forget that in many cases when tweezing hair may not GROW BACK !They are not laws that the fashion police will enforce is your face and your confidence at taking here. If the beauty book says this face shape needs a sharper arch, and that face shape needs a rounded arch, but the eyebrow hairs don’t grow that way,use discretion and don’t make the fast decisions hat you can regret. We all have our favorite type of brow, and cannot insist everyone else wear their eyebrows the way we would like to see them. The goal is to get the basics right and make it look natural.

I get a lot of clients that want eyebrows that are not possible to create or look just very very wrong, so I show them the difference and for the most part they change their minds once they see it.

 

The Brow Buddy 

 

Tools and tips that we suggest

 

 

The space between

The eyes determine if they are average, close set, or wide set. The distance between the eyes is normally the width of one eye. When the eyes are close set, the brows can be groomed further apart so the space between is the width of one eye to create the appearance of more widely spaced eyes. When the eyes are wide set, the eyebrows can be groomed closer together so the space between is the width of one eye to create the appearance of more closely spaced eyes.

Typically, the eyebrow begins above the inner corner of the eye. A tad shorter or longer is ok as long as it isn’t too much. The differences between the two sides of the face can affect the look of symmetry on this also. Women can carefully place each eyebrow to begin above the inner corner of each eye, and then spend a lot of time trying to figure out why it doesn’t look right. Women will zero in on the center spot above the nose and view length of distance to the right for the beginning of that eyebrow, and length of distance to the left for the beginning of that eyebrow. One brow will look like it comes in closer to the center than the other, but both are at the same point above the inner corner of the eye. The challenge here is that one side of the face has a greater distance between the center of the nose bridge and the inner corner of the eye – more so on some than others so here you can use a stencil to me sure it isotherm tools in the market that can aid with this desition.

Mark the center spot above the center of the nose bridge. Don’t look down the nose for a straight line because many noses lean off to one side or the other. With a flexible measuring tape, measure millimeters to the left to a general starting point above the inner corner of that eye, then mark the same millimeters to the other eye. Depending on how much difference in length there is to each eye, compromise a couple of millimeters the direction needed on both sides so that they are both about the same distance from the center starting point try to draw it in and then make a decision and changes keeping in mind the asymmetry of the face. It has been my experience that women are happier with a symmetrical distance from the center point than symmetrically placed above the inner corner of the eye.

Eyebrows for different face shapes

The principles behind particular eyebrow shapes for different face shapes are really quite simple. To achieve harmony, we incorporate five principles of art and design: 1) Proportion – the appreciation of line and scale to give the illusion of better proportions of facial shape and features. 2) Balance – the observance of equilibrium to balance the face. 3) Emphasis – making the brow a focal point to detract attention from other features. 4) Rhythm – the flow and movement of brow lines to create harmony in relation to facial structure. 5) Unity – the coordination of smooth lines and sharp angles to unite all aspects for a total look as a whole.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PERFECTLY TAUT PERFECT BROW CONTROL

A clear liquid designed to keep brows in place all day. Controls, separates and keeps brows groomed all day. A makeup artist must-have.

 

RapidLash Eyelash & Eyebrow Enhancing Serum

RapidLash is an groud breaking paraben-free eyelash renewal serum that helps promote healthy, natural lashes and borws and improve the overall appearance and condition of your lashes and brows.

 

 

 

Revitalash RevitaBrow Eyebrow Conditioner

Winner of THE BEST Treatment For Perfect Brows in the 2015 New Beauty Awards!
Get beautifully shaped eyebrows quickly and easily. RevitaBrow® Advanced uses the power of peptides and botanicals for strengthening and conditioning. Revitalash RevitaBrow Eyebrow Conditioner is a breakthrough, category leading eyebrow conditioner featuring a high impact, proprietary technology for iconic-looking eyebrows.

 

 

 

Chella Beautiful Eyebrow Stencils

To guide you in creating the perfect brow, Chella has developed four templates to help you fashion a beautiful brow that is just right for you. Pick from Alluring, Sassy, Confident or Timeless Chella Stencils.

 

 

 

LASHFOOD BROWFOOD Phyto-Medic Natural Eyebrow Enhancer

Formulated for those experiencing brow loss or thinning due to aging or overly plucked brows.

 

 

 

Model in a Bottle Eyebrow Sealer

Eyebrows give expression to your eyes and frame your face. Now with Model in a Bottle? Long Lasting Eyebrow Sealer, you can be confident that your brows will stay in place all day.

 

 

 

Guerlain Eyebrow Kit

Eyebrow Kit (3x Powder, 1x Highlighter, 1x applicator) – # 00 Universel

neuLASH Brilliant Brows Set

Perfect your face framers with our limited edition Brilliant Browsset.  An essential set for precision brow shaping and defining in a beautiful zippered bag. Perfect for at home and on the go!

 

 

 

 

 

 

 

 

 

The History of make up Foundation

 

 

Hello and thanks for your support, likes, and shares, we are very thankful. It is fuel for us to see that we are making a difference with all the information we share, we love doing the work and when we see how much you like it is a great feeling.

On week 231 we are sharing the history of foundation and we are including tips, videos, different qualities and much much more. The post will always be in our archives so you can go back to it anytime you wish, enjoy and please share with others so they to can learn and enjoy, thank you.

This post is about the history of foundation created for film and public, Max Factor a great contributor to the makeup history, not only to the film industry. He also contributed a great part to the beauty industry in general, he was also very involved in wigs and adhesives, a well-rounded professional. I am fascinated with his trajectory, he could have easily given up when he was in Russia and couldn’t live the way he wanted and definitely wouldn’t have had the career that he had here in the USA that was for sure, in any case, he followed his dream and impacted the industry in a huge way, so here we are sharing some of his achievements, we will do more on him in future posts.

I personally started my career using his products, Pancake, Pan stick, Grease paint and love them. You really connected with these products and came up with your own way to blend them and correct the mistakes of wear and tear of them, I am grateful that I was lucky enough to live in the era of fully committed professionals that not only love what they did, they also strived for excellency, not so much of that now, a lot of artists in the industry strive for the paycheck. That was not the way then, their way was quality, dedication, research and integrity.

Enjoy and please share and like.

 

From: https://en.wikipedia.org/wiki/Foundation_(cosmetics)

The use of cosmetics to enhance complexion reaches back into thousand of years. “Face painting” is mentioned in the Old Testament (Ezekiel 23:40). Ancient Egyptians used foundation. In 200 B.C., ancient Greek women applied white lead powder and chalk to lighten their skin wow how toxic right?. It was considered fashionable for Greek women to have a pale complexion and still is in many cultures in the world. Roman women also favored a pale complexion. Wealthy Romans favored white lead paste, which could lead to disfigurements and death. Men also wore makeup to lighten their skin tone and in many cultures to create a  social distinction like in the case of tribes and for protection against sun and etc. They used white lead powder, chalk, and creams to lighten their skin tone. The cream was made from animal fat, starch, and tin oxide. The fat was rendered from animal carcasses and heated to remove the color. Tin oxide was made out of heating tin metal in open air. The animal fat provided a smooth texture, while the tin oxide provided color to the cream.

Ceruse Make up

 

Throughout the Middle Ages in Europe, it was considered fashionable for women to have pale skin, due to the association of tanned skin with outdoors work, and therefore the association of pale skin with affluence. In the 6th century, women would often bleed themselves to achieve a pale complexion. During the Italian Renaissance, many women applied water–soluble lead paint to their faces. Throughout the 17th century and the Elizabethan era, women wore Ceruse, a lethal mixture of vinegar and white lead. They also applied egg whites to their faces to create a shiny complexion. Many men and women died from wearing lead-based make-up.

In the 18th century, Louis XV made it fashionable for men to wear lead-based makeup. Theatrical actors wore heavy white base.

In the late 18th and early 19th centuries, Victorian women wore little or no makeup. Queen Victoria abhorred make-up and deemed that it was only appropriate for prostitutes and loose women to wear it. It was only acceptable for actors or actresses to wear make-up. In the late 19th century, women would apply a whitening mixture made out of zinc oxide, mercury, lead, nitrate of silver, and acids. Some women stayed out of the sun, ate chalk, and drank iodine to achieve whiteness the things that people do for “Beauty”.

 

In the Edwardian era, women wore base and did not bleach their skin as much as they did in previous centuries.

 

On the modern stage, makeup is a necessity because powerful stage-lighting systems may remove color from a performer’s complexion and can definitely work against it in many cases and good lighting will eliminate shadows and lines. Makeup restores this colour and defines the facial features to ensure a natural appearance. It also helps the player to look and feel the part, a consideration especially helpful in character interpretations. A theatrical makeup kit and a Motion picture and television make up kit typically includes makeup base colours, rouges, coloured liners for shadow and highlighting effects, eye makeup and false eyelashes, various cleansers, powder and powder puffs,different kinds of sponges, brushes, tweezers, concealers,tissues, bloating papers, spatulas to distribute the make up into a palette to prevent cross contaminations from one actor to another,disposable mascara wands, disposable lipstick applicators different kinds of adhesives, mirror, brush cleaner,liners, now a days anti-shine, and the kits of special effects contains putties, grease paints, Pack paint often airbrush and according paints, removers adhesives, lace hair peaces and their adhesives, waxes, liners and so much more for working prosthetic now days we use silicone materials, and gel materials aside from rubber and Gel appliances so we need different paints foe each of them and adhesives that work accordantly with the different materials, facial lace hairpieces or hair to construct them. Latex  and wax was worked onto the skin to create the illusion of aging or deformity, now a days we have so many techniques to do that effect it all depends what the project call for and the budget. The art of stage makeup has become so complex that most theatrical, film and television companies employ a professional makeup artist who creates and applies makeup suitable to the actors’ various roles.

 

One of the first makeup kits

 

 

 

 

 

 

 

Makeup, in the performing arts, motion pictures, or television, any of the materials used by actors for cosmetic purposes and as an aid in taking on the appearance appropriate to the characters they play.

In the Greek and Roman theatre the actors’ use of masks precluded the need for makeup. In the religious plays of medieval Europe, actors playing God or Christ painted their faces white or sometimes gold, while the faces of angels were coloured bright red. During the Renaissance, popular characters in French farce wore false beards of lamb’s wool and whitened their faces with flour. It is known that on the stage of Elizabethan England, actors playing ghosts and murderers powdered their faces with chalk and that those appearing as blacks and Moors were blackened with soot or burnt cork. Little attempt was made to achieve historical accuracy in either makeup or costuming until early in the 19th century.

 

 

 

 

Early stage lighting, provided first by candles and later by oil lamps, was dim and ineffectual; consequently, crudity in makeup passed unnoticed. With the introduction of gas, limelights, and, finally, electric lights into the theatre came the need for new makeup materials and more skillful techniques of application. Crude, inartistic effects could not be hidden under the revealing light of electricity. A solution was found with the use of stick greasepaint, invented in the 1860s in Germany by Ludwig Leichner, a Wagnerian opera singer. By 1890 the demand for stage makeup had warranted its manufacture on a commercial scale. Half a century later, greasepaint in stick form had given way to more easily handled creams, though greasepaint’s superior qualities in colour blending were still prized.

Stage makeup proved to be wholly unsatisfactory for the motion-picture medium. Necessarily heavy applications made it impossible to appear natural in close-ups, and the range of colours developed for theatre failed to meet the quite different requirements of motion-picture lighting and film emulsions.

The first makeup designed expressly for motion pictures was created by Max Factor in 1910. It was a light, semiliquid greasepaint available in jars in a precisely graduated range of tan tone, suitable for the lighting and orthochromatic film emulsion used during that period.

 

The introduction of panchromatic film and incandescent lighting on movie sets eventually made it possible to standardize the film, lighting, and colours of makeup that were most effective for motion pictures. The Society of Motion Picture Engineers conducted a special series of tests for this purpose in 1928. As a result of these experiments, Max Factor created a completely new range of makeup colours called panchromatic makeup, an achievement for which he won a special Academy of Motion Picture Arts and Sciences Award.

On April 30, 1928, Max Factor was presented with a special certificate by the academy of Motion Picture Arts and Sciences, the first awarded by the academy, in recognition of his contribution to the success of the Incandescent Illumination Research. Frank Max Factor remembered, I have never seen my father so happy and so on the verge of tears. And he just said “Thank you” and sat down, for he wasn’t able to say nothing at that moment.He told his son Frank years later, that he considered that occasion, when the entire industry gathered to pay him tribute for his achievement in the cosmetic art and his tremendous contribution to it, to be the happiest moment of his life, remarkable considering the whole trajectory since he left Russia, that is a winner. he persevered against all odds and follow his passion, I wasn’t until 1981 that make up became a regular category of the Academy Awards.

Max Factor was known for creating the signature looks of the era’s most famous icons such as Ava Gardner, Jean Harlow, and Marlene Dietrich. But he believed that glamour should be within reach of all women.

 

Max Factor’s ‘Beauty Calibrator’ 

 

Motion-picture makeup is both corrective and creative. Makeup must always be applied skillfully, delicately, and subtly so that facial expression will have natural freedom. On the screen, particularly in close-ups, the face may be magnified many times larger than life size, so that every complexion flaw or crudely applied makeup artifice is clearly discernible. As a corrective art, makeup serves to cover blemishes, provide the face with a smooth and even colour tone for the most effective photography, clearly define the facial features for more visibly expressive action,make the player appear more attractive and ensure a uniform appearance before the camera. As a creative art, makeup enables the player to take on the appearance of almost any type of character. It can make the young appear to age believably and the old appear to look young again. Special makeup devices can supply the performer with any desired facial feature, from the weird effects of science fiction and horror movies to the bruises, wounds, and scars of western and war films.
The introduction of colour to motion pictures created new makeup problems. Various colour films caused existing greasepaint used on players’ faces to appear yellowish or red and blue on the screen. After some experimentation, a solution was found with a successful solid (Pan-Cake) makeup that was applied with a moist sponge. Makeup charts indicated the correct colours to use for each type of colour film.

Modern foundation can trace its roots to Carl Baudin of the Leipziger Stadt theatre in Germany invented in the 1860s , a Wagnerian opera singer. By 1890 the demand for stage makeup had warranted its manufacture on a commercial scale. Half a century…. He is the inventor of greasepaint. He wanted to conceal the joint between his wig and forehead, so he developed a flesh-coloured paste made of zinc, ochre, and lard. This formulation was so popular with other actors that Baudin began producing it commercially, and, as such, gave birth to the first theatrical makeup.

Makeup has a long theatrical history. The early film industry naturally looked to traditional stage techniques, but these proved inadequate almost immediately. One of makeup’s first problems was with celluloid. Early filmmakers used orthochromatic film stock, which had a limited color range sensitivity. It reacted to red pigmentation, darkening white skin and nullifying solid reds. To counter the effect, Caucasian actors wore heavy pink greasepaint (Stein’s #2) as well as black eyeliner and dark red lipstick (which, if applied too lightly, appeared white on screen), but these mask like cosmetics smeared as actors sweated under the intense lights. Furthermore, until the mid-teens, actors applied their own makeup and their image was rarely uniform from scene to scene. As the close-up became more common, makeup focused on the face, which had to be understood from a hugely magnified perspective, making refinements essential. In the pursuit of these radical changes, two names stand out as Hollywood’s progenitor artists: Max Factor (1877–1938) and George Westmore (1879–1931). Both started as wigmakers and both recognized that the crucial difference between stage and screen was a lightness of touch. Both invented enduring cosmetics and makeup tricks for cinema and each, at times, took credit for the same invention (such as false eyelashes).

 

Factor (originally Firestein), a Russian Born in 1877 in Lodz, Factor, one of ten children, was apprenticed to a local apothecary when he was eight. By the age of nine, he was training with the city’s leading wigmaker and cosmetician, and shortly thereafter began traveling with the Imperial Russian Grand Opera. Following his obligatory military service, Factor opened his own shop south of Moscow, in Ryazan. After servicing a theatrical troupe that performed at the royal palace, he was summoned to serve as personal cosmetician to members of the czar’s court, including his physician. He was generously compensated and surrounded by opulence but forbidden from leaving the palace except for an escorted trip each week to his shop where he collected supplies. During one of these visits, he met a young customer, and in the following years secretly courted and married her, and even fathered three children with her, all completely unbeknownst to his royal escorts. As his children grew older, however, the situation became increasingly untenable, and the couple eventually devised a plan of escape. In early 1904, Factor used his own formulas to affect a sickly pallor. When allowed to visit a sanatorium, he arranged for his wife and children to join him and, under cover of night, they escaped on board a steamer bound for America.when he arrived in the United States in 1904 and moved to Los Angeles in 1908, where he set up a perfume, hair care, and cosmetics business catering to theatrical needs. He also distributed well-known greasepaints, which were too thick for screen use and photographed badly. By 1910, Factor after this realization begun to divide the theatrical from the cinematic as he experimented to find appropriate cosmetics for film. His Greasepaint was the first makeup used in a screen test, for Cleopatra(1912), and by 1914 Factor had invented a twelve-toned cream version, which applied thinly, allowed for individual skin subtleties, and conformed more comfortably with celluloid. In the early 1920s panchromatic film began to replace orthochromatic, causing fewer color flaws, and in 1928 Factor completed work on Panchromatic MakeUp, which had a variety of hues. In 1937, the year before he died, he dealt with the new Technicolor challenges by adapting theatrical “pancake“ into water-soluble powder, applicable with a sponge, excellent for film’s and, eventually, television’s needs. It photographed very well, eliminating the shine induced by Technicolor lighting, and its basic translucence imparted a  fine delicate look. Known as Pancake makeup, it was first used in Vogues of 1938(1937) and Goldwyn’s Follies(1938), quickly becoming not only the film industry norm but for public sensation. Once movie stars, delighting in its lightness, began to wear it off screen, Pancake became de rigueur for fashion-conscious women. After Factor’s death, his empire continued to set standards and still covers cinema’s cosmetic needs, from fingernails to toupees.

According to:http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Makeup-HISTORY.html Read more

 

Max Factor

 

According to: http://www.britannica.com/art/makeup-performing-arts#ref268975

The introduction of panchromatic film and incandescent lighting on movie sets eventually made it possible to standardize the film, lighting, and colours of makeup that were most effective for motion pictures. The Society of Motion Picture Engineers conducted a special series of tests for this purpose in 1928. As a result of these experiments, Max Factor created a completely new range of makeup colours called panchromatic makeup, an achievement for which he won a special Academy of Motion Picture Arts and Sciences Award.

Max Factor

Max Factor and Renee adoree

The introduction of colour to motion pictures created new makeup problems. Various colour films caused existing greasepaint used on players’ faces to appear yellowish or red and blue on the screen. After some experimentation, a solution was found with a successful solid Pan-cake makeup that was applied with a moist sponge. Makeup charts indicated the correct colours to use for each type of colour film.

The tip-off that Factor had something even more valuable on his hands, however, was that rather than leave their makeup at the studio, actresses stole it to use at home. Factor initially resisted marketing Pan-Cake to the general public—he still believed makeup was best confined to the stage and screen. But his sons persisted and actresses begged, and finally, the following year, Factor launched Pan-Cake Make-Up with great fanfare. The product release was announced with a full-color advertising campaign and movie star endorsements and timed to coincide with the debut of George Marshall’s 1938 film Goldwyn Follies, the most lavish Technicolor production to date and the first to contain a screen credit for Factor’s makeup. Pan-Cake Make-Up was not the company’s first foray into the general market, but it was by far the most successful, inspiring more than sixty imitations and trumping the profits of all other Factor products combined. Other pioneers of the cosmetics industry—Helena Rubinstein, Elizabeth Arden, Charles Revson—immediately launched their own versions. Factor’s original product, a solid cake of makeup to be applied with a damp sponge, quickly led to the development of what has since been termed “foundation,” a viscous skin-colored substance that now exists in a bewildering range of options. Foundation can be liquid, solid, or something in between called “powder finish”

Motion-picture makeup is both corrective and creative. Makeup must always be applied skillfully, delicately, and subtly so that facial expression will have natural freedom. On the screen, particularly in close-ups, the face may be magnified many times larger than life size, so that every complexion flaw or crudely applied makeup artifice is clearly discernible. As a corrective art, makeup serves to cover blemishes, provide the face with a smooth and even colour tone for the most effective photography, clearly define the facial features for more visibly expressive action, make the player appear more attractive and ensure a uniform appearance before the camera. As a creative art, makeup enables the player to take on the appearance of almost any type of character. It can make the young appear to age believably and the old appear to look younger again. Special makeup devices can supply the performer with any desired facial feature, from the weird effects of science fiction and horror movies to the bruises, wounds, and scars of western and war films.

This would be the standard for theatrical make-up until 1914 when makeup artist Max Factor created Flexible Greasepaint that was more reflective under the lighting on movie sets. Although make-up would evolve dramatically from Baudin’s invention, theatrical make-up is, to this day, not too far removed from the original blend of fats and pigment.

 

Courtesy of GlamourDaze.com

 

 

https://youtu.be/qR5IHlCN9n4?list=PL5lFRekBkC4N25vAZ6VUoIJjiY5rEQJje

 

 

Pan-Cake

Max Factor was born in Russia, actually, he was Polish when Poland still wasn’t recognized as its own country and emigrated in 1914 to America, settling in LA to be closer to the budding film industry. Word of Max Factor’s expertise quickly spread and he was soon working with Hollywood’s leading film stars and making his own cosmetic products for a glamorous but realistic look on screen. In 1916 he started selling eye shadow and eyebrow pencils aside from foundations. This was the first time such products were available outside the movie industry. Four years later he launched a full range of cosmetics, calling it “make-up” – a phrase he coined.

The make-up products and techniques Max Factor created for the movie industry and his Hollywood clients earned him an Oscar, but his guiding philosophy was that any woman could be glamourous given the right tools and once they learned the make-up artistry skills. From mascara to foundation, eye shadow to lip gloss – Max Factor put the transformative tools for make-up artistry into the hands of every woman, enabling her to create her own personal glamour statement every day.

The first commercially available foundation was Max Factor’s Pan-Cake. Originally developed for use in film, actresses were so taken with the results that Max Factor was overwhelmed with demand for the product for their personal use. The breakthrough in his formula was the first “foundation and powder in one”; traditionally, an actor was made up with an oil/emollient-based make-up, which was then set with powder to reduce the reflection and ensure it would not fade or smudge. Pan-Cake used talc—rather than oil or wax—as the base, and, applied directly to the skin with a wet sponge, it offered enough coverage (it could be layered without caking on the skin) to eliminate the need for a foundation underneath. This was considered significantly more lightweight and natural-looking on the skin than the standard method, hence people’s eagerness to wear the item in public. Although foundation make-up was widely available and used within the film industry, the use of cosmetics in general was still somewhat disreputable, and no one had tried to market foundation (although lipstick, blush, and nail polish were popular for daily use) as an everyday item. Factor had the product patented in 1937, and, despite the economic turmoil of the era, Pan-Cake became one of the most successful cosmetic launches of all time. By 1940, it was estimated that one in three North American women owned and wore Pan-Cake. As of February 2009, Procter and Gamble, the brand’s current owner, confirmed that the original formula Factor developed and used himself is still sold today.

A second but equally important function of early film make-up was to make the best of an actor’s facial features. Although an interesting ‘camera face’ was not essential for becoming a screen actor – acting ability was also important – it was highly desirable. As make-up specialists, like Max Factor and the Westmores, began to get heavily involved with the film studios in the 1920s, they transformed many famous faces to make them more pleasing when filmed.

 

 

Greasepaint and powder

The use of greasy substances in western theatrical make-up goes back to at least the eighteenth century when W. R. Chetwood (1749) described the use of ivory-black mixed into grease for blackening the face; it was removed with fresh butter. ‘The Oxford Companion to the Theatre’ suggests that when gas lighting was introduced, a number of actors mixed powdered mineral pigments with some form of grease to produce a type of grease-based makeup. For example, Fitzgerald (1901) describes how the actor Herman Vezin [1829-1910] “mixed a lot of colour with melted tallow in Philadelphia in 1857”. William (‘Willy’) Clarkson [1861-1934] (an infamous London wigmaker) also suggested that Vezin was “if not the first, [then] one of the first to make up with grease” on the London stage. However, it would be Ludwig Leichner’s name that would become most closely associated with greasepaint.

 

According to:http://www.cosmeticsandskin.com/bcb/greasepaint.php

 

Ludwig Leichner

 

Being both an opera singer and a student of chemistry, Leichner was in an ideal situation to advance the cause of stage make-up. After developing a viable product, he established a commercial powder and make-up business in Berlin in 1873 to make it, and within a short time was selling his products internationally.

The greasepaint Leichner developed had a greater covering power and intensity of colour than the old powder make-up and gave actors more control over how it was applied. Skin tones, shadows, and highlights were easier to create so, when correctly applied, greasepaint enabled actors’ faces to look more natural, have a more even complexion and be more expressive in the brighter light; in short, they looked more lifelike. The make-up was also largely unaffected by perspiration.

The old method of making up was not by any means so effective as the preparation of the present day—the face being treated to a coating of violet powder, the hare’s foot, and rouge were called in to throw up the complexion, the chin and cheek bones being very liberally treated to colour. It will be seen at once that this method needed reformation, for it is impossible to give the whole of the face a natural hue with violet powder, and though carmine was employed to heighten effects, the face must have had a patchy appearance.
Another difficulty and a very serious one was the perspiration of the flesh becoming, after a little exertion, palpable through the make-up. This frequently resulted in one colour running into another, hence a most ludicrous expression. It is almost (even now) impossible to effectually patch up a makeup after it has been once laid on the face, and the old method necessitates the actor making up afresh after he has strutted and fretted through a few scenes.

In the early days of film, some screen actors, particularly men, refused to use any form of make-up; most were eventually talked into to doing so. Individuals with a good complexion could get away with using a little cold cream covered with powder but otherwise, traditional greasepaint was needed. As the demands of the screen became better understood the greasepaint was applied more thinly and worked well into the skin so that it looked as natural as possible before powder was applied. When the grease paint, was put on properly, gave the skin a perfectly smooth surface of a shade slightly lighter than the grease appears in the jar.

It was very important that actors blend the greasepaint and powder very well, not only to ensure that it covered the area behind the ears and the neck but also to avoid the demarcation lines and blotchiness that resulted from the greater contrast and limited spectrum sensitivity of blue-sensitive film. Blending powders they are called, and blending powders they should be. The powder covers the entire face and is blended smoothly with the base by the slow and rather tedious process of patting it on gently but firmly with a large powder puff. Choice of color in blending powder and care in applying it is quite as important as any other part of the make-up.

The tonal shades of the greasepaint and powder used by film actors would depend on the filming conditions, the character they were playing and individual preferences. Women generally selected a lighter skin tone than men, which reflected the social norms of the day – this was before the suntanning craze of the 1920s. Many actresses felt light tones also made them look younger; needless to say, some overdid it. Some actresses thought that the lighter they can make themselves the more youthful they appear. A good natural flesh tint with a powdering over of flesh-tinted powder to kill the gloss of grease paint.

Many screen actors believed that greasepaint restricted their facial expressions and this seems to have been one reason why some only used powder or switched to Max Factor’s ‘Supreme Greasepaint’ or some other form of cream greasepaint. Released in 1914 as a cream in twelve shades, Supreme Greasepaint could be applied very thinly and felt very flexible on the skin.

Cinema tends to make beautiful people look more beautiful, but it wasn’t always so. In its earliest days, film had an adversarial relationship to beauty, exaggerating the tonal and textural variations of the human face so that even the most stunning heroine became a blotchy caricature. Early black-and-white film stocks—first, orthochromatic film, dominant until 1927, and to a lesser degree its successor, panchromatic film—rendered dark colors darker and light colors lighter, turning features that seemed innocuous off camera (rouged cheeks, a constellation of moles) into distracting blemishes when seen on the screen. Pimples and freckles looked like spots of mud and blue eyes seemed colorless; lipstick made the mouth a cavernous hole and a complexion with sallow or pink undertones appeared, in the term of the time, “negroid.” Techniques borrowed from the stage also proved problematic: face paint used to suggest wrinkles to a theater audience, for example, read as tattoos on film. Cinematic makeup, then, was not born from vanity—it was a necessary antidote to the flawed medium of film.

At first, film actors would arrive on set already made up, having used either a commercial greasepaint product designed for the stage or homemade concoctions of lard, talc, and pigment. Actors shared tips with each other and a few studios provided how-to pamphlets. A more convincing skin color could be made by adding brick dust or paprika; a layer of cold cream, petroleum jelly, or vegetable shortening could be applied before the paint, and a puff of flour after, to diminish the shine; white paint could be used to hide a double chin; dimples could be drawn in with a touch of lipstick. But even with the most expert application, greasepaint was a crude medium. It was stiff and dense, and tended to aggravate skin conditions that then required more greasepaint. There was no solution for the seams that were visible along the hairline and collar, and, as the name suggests, the substance was nearly impossible to wash off. Most vexing of all, greasepaint remained perfectly intact only when the face was slack. A lifted eyebrow or a smile caused the makeup to craze with hairline cracks. Though imperceptible to a distant theater audience, the defect was catastrophic on film.

Silent-film comedians were the first fans of a new “flexible” greasepaint introduced in 1914 by a small wig and cosmetic shop in Los Angeles. “Flexible Grease Paint” had a very different feel to it, and customers requested that the proprietor demonstrate how to apply it. The store soon developed a steady clientele of actors who were happy to pay someone else to do their makeup. Charlie Chaplin, Buster Keaton, and the cross-eyed Ben Turpin needed to be on set by seven in the morning; The House of Make-Up began opening at five thirty.

Highlight and shadow

Through the use of makeup, specifically highlighting and shading, the apparent shape of an actor’s face can be changed By highlighting the face’s protruding bones, the features become pronounced; shadowing cavities can add depth.Sagging jowls, forehead wrinkles, eye pouches, and prominent veins can be created by manipulating highlights and shadows. A highlight is a base makeup that is at least two shades lighter than the base. It is applied on the bridge of the nose, cheekbones, and areas under the eyes and below the brows. Using a color two shades deeper than the base provides depth and definition. This depth is commonly used on the eye sockets, to thin the sides of the nose, to shallow the cheeks, and to minimize heaviness under the chin.

 

Makeup and lighting

 

Lighting controls makeup to a high degree. Makeup can lose its effectiveness due to incorrect stage lighting. Conversely, skillful lighting can greatly aid the art of makeup. Close communication between the lighting director and the makeup artist is crucial for the best possible effect.

Understanding light’s effect on makeup and various shades and pigments is important when designing a performer’s makeup. The following are among the basic rules of light: nothing has color until light is reflected from it; an object appears black when all of the light is absorbed; an object appears white when all of the light is reflected. If certain rays are absorbed and others are reflected, the reflected rays determine the color.

 

Light’s effect on makeup

 

• Pink tends to gray the cool colors and intensify the warm ones. Yellow becomes more orange.
• Flesh pink flatters most makeup.
• Fire red ruins makeup. All but the darker flesh tones virtually disappear. Light and medium rouge fade into the foundation, whereas the dark red rouges turn a reddish brown. Yellow becomes orange, and the cool shading colors become shades of gray and black.
• Bastard amber is flattering because it picks up the warm pinks and flesh tones in the makeup.
• Amber and orange intensify and yellow most flesh colors. They turn rouges more orange. Cool colors are grayed.
• Green grays all flesh tones and rouges in proportion to its intensity. Green will be intensified. Yellow and blue will become greener.
• Light blue-green lowers the intensity of the base colors. One should generally use very little rouge under this type of light.
• Green-blue washes out pale flesh tones, and will gray medium and deep flesh tones, as well as all reds.
• Blues gray most flesh tones and cause them to appear more red or purple.
• Violet causes orange, flame, and scarlet to become redder. Rouge appears more intense.
• Purple effects makeup like violet lighting, except reds and oranges, will be even more intense, and most blues will look violet.

 

https://youtu.be/mwqNRqDx680

 

 

 

 

 

 

https://youtu.be/CfRWHnfDsco

 

 

 

 

 

 

 

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On week 224 we are sharing extensive research on the history of make up in the 1950’s , So much fun to go back and learn what was happening with the colors the process and what women like our mothers were experiencing with the beauty trends in those days, we love it!!

We like to thank you for all your support once again. We have thousands of visitors a week and they give us so much fuel to keep going, we are very grateful of it. Please share with others so they to can benefit, social media is a huge part of a blogs success. We really appreciate the likes and shares there, from all of us at isabel’s beauty Blog.

 

Lena Horne 1950

The age of makeup entered its golden age in the 1950’s. For the first time, unknown models began to rival the big Hollywood names in becoming the ‘face’ of makeup brands.

I love the look of the 1950’s and have done many shows with it, and always keep the look out for reference sources.

A really glamorous decade for women’s makeup. Creams were the in thing in foundations and shadows. A consistent creamy application of foundation and flesh colored powders to set. Eyebrows still a natural look but more tapered and feminine. Rouges (what we call blush now) were more subtle than in the 1940s. If there was a color to define the 1950s – it has to be pink. Pink hues in shadows and reddish pink lipsticks were favor.

The 1950s had a profound influence on fashion and continues to be a strong influence in contemporary fashion. Some of the world’s most famous fashion icons today such as Christina Aguilera, Katy Perry, and David Beckham regularly wear their hair or indulge in a style of fashion clearly heavily influenced by that of the 1950s. Aguilera is influenced by Marilyn Monroe, Beckham by Steve McQueen and James Dean.

Wishing for you to enjoy these tutorials, videos and accurate resources

 

Katy Perry 1950’s look

Christina Aguilera 1950’s look

 

 

According to: http://vintagemakeupguide.com/1950s-look/

When you think of make-up styles from the 1950s. We think of ladies like Sophia Loren, Audrey Hepburn, Lucille Ball among many others, these women were not only fashion icons but beauty icons for women around the world. Their make-up looks defined the era, and it was without doubt the age of glamour ! beauty salons and powder rooms became hallowed sanctuaries for glamorous women.

The start of color motion pictures inspired an explosion of 1950s makeup.

 

The 1950s Make-up Color Palette.

 

 

 

 

 

Pastels, shades ruled in this decade, pale pinks, greens, blues and yellows, and if ever there was a color that showcased an era, it was the color pink for the 1950s. Audrey Hepburn once stated that she ‘ believed in pink ! ‘ Peaches and cream and pink hues all call to mind the 1950s, both in feminine decor, dress and make-up.

While Russian red was the favorite lip gloss color in the 1940s, it was pinks, purple-reds, and orange-red colors which took the centre stage in the early 1950s.the beauty books of the era spent pages and pages sharing with women on what make-up to wear, for what times of the day, and with which costumes. The art was known as Color Keying.

Pale skin was back in again, and pastel hues in powder wee used. Subtleness was the goal for foundation creams and top names like Elizabeth Arden and Max Factor and Helena Rubinstein jostled for supremacy in a woman’s handbag. Unlike the 1940s, when a dab of powder was all that was available or affordable for a woman, now every day began with a foundation base, a soft mask like complexion  that when finished it looks softly done – a blank canvas.You completed the look with peachy or flesh colored powder.

It was common then to extend the natural border of your mouth with liner color, making a girls lips look more feminine and – well – voluptuous and at the same time great for creating the shape desired! Pinks and Reds were the common mix. Orange-red lipsticks for blonde hair, redheads and other medium darker colors; and purple-red lipsticks for dark haired ladies.

A survey in 1951 found that more than two thirds of women now regularly wore lipstick. As a result – long lasting lipstick was the next goal, and the first kiss-proof stay-on lipstick was introduced by a lady called Hazel Bishop in 1950. “It stays on YOU,” declared the ads for Hazel Bishop’s smudge-proof lipstick, “… not on Him! I guess they kissed a lot!” It was so successful that she formed Hazel Bishop Inc the next year. Sales of her lipsticks increased from $49,527 in 1950 to $10,100,682 in 1953 quite a jump in the numbers, smart cookie!

The eye look of the 1950s was essentially very minimal, with little or non eye-shadow applied. Mascara on the other-hand was everyone’s favorite huge accessory. Generous dabs of mascara added a flushing femininity to a woman eyes.A soft but definite liner was then applied along the upper lash and softly swept out in a short wing like motion, opening up the eyes. many women used their blush for an ever so light touch-up over the brows, in the evening time, I still use that trick, my mentor Way Bandy introduced me to it. Rosy and pastel hues of rouge applied to the apple of the cheek finished off the look.

 

 

The Key Makeup Looks of the 1950’s.

 

 

• Foundation – A cream ivory base, and cream or liquid foundation near to natural skin color.

• Powders – brushed on flesh colored powder to set.

• Eyes – subtle shadows on lid – taped out to shimmering pale brow.

• Eyeliner – the wing effect became popular in the 1950s.

• Lashes – subtle and applied usually to the upper lashes.

• Rouges – pastel and rose colors applied to the apple of the cheek.

• Lips – many tutorials advised creating a ‘smile’ effect with lipsticks.

 

Mascara from brand leaders such as Maybelline were a must cosmetic to have in your handbag. Though it wasn’t until the 1960s that women applied it to lower lashes again [ as in the 1920’s ]. Loads of newly patented cosmetic tools like eyelash curlers and eyebrow stencils helped young women achieve the look of their like.

 

The Cat eye-line or the winged tip which defines the current retro pinup look – such a simple innovation, added real glamour to a girls eyes and was often preferred by women instead of heavy eyeshadow look.

 

 

 

 

Max Factor

 

Lets talk about Max Factor was a very important brand in the history of cosmetics! Max Factor began experimenting with various compounds in an effort to develop a suitable make-up for the stars in the new film medium. By 1914 he had perfected the first ever cosmetic with this major achievement to his credit, Max Factor became the authority on cosmetics and an innovator of his time. The development of Technicolor film in the 1950’s required the company to develop a new line of products as its existing panchromatic make-up left a slight sheen on the skin that reflected surrounding colors and piked up excess light. Max Factor developed the Pan stick that was a very desirable item both on and of the screen. In 1947 after 26 months of development by Max Factor, Jr., the company released “Pan-Stick”; it was released to the public in 1948 and was a huge commercial success.

Women’s magazines began featuring guides to makeup application and women everywhere started to experiment with cosmetics. Pan Cake would be applied to even out “Flaws”. Then, the mixing of colors would begin and a bold, colorful canvas would emerge , rosy cheeks and neutral-toned eyelids. It was later in the decade when companies began adding titanium to their products to tone down the bright color of many products, resulting in a more natural look.

This was the decade of the fashionable, glamorous homemaker. Women began baking apple pies and vacuuming the house in heels, dresses and fully made up faces. Cosmetic companies capitalized on this emerging trend and targeted ads towards married women who had to look good for their husbands,wow that is a thought house chores fully made up wee! I personally wood have trashed my clothes in the process.

 

 

 Acording to lipstickandcurls.net

As in previous decades women took beauty inspiration from the big screen and the movie starlets of the decade, with the explosion of color, from the motion pictures in the 1950s women were now fully able to see the make up the stars were wearing and Technicolor showed up beautifully in an array of cherry, fire engine red lips, warm bright blush and also the flawlessness of the skin. Women took this vibrant look and wore it day and night as a fashionable style of this period. Cosmetic brands were an important part of the process as now offering more choice than ever and more availability to the average housewife of the time. These cosmetic brands changed the face of the decade with the vibrant reds and cherries at the start of the decade and then with the addition of titanium to the products (it was added to mute the colors, we see more of a peach, pinkish tones towards the latter process. Cosmetics and cosmetic science was and still is bigger than ever as companies are always looking for ways to improve a product or adapt an old classic to coincide with current fashions and trends. Some of the brands available today have been working their magic for years, below is a look at the popular cosmetic brands of the 1950’s and how they play an important role in beauty history!

 

 

Estee Lauder

 

Estee Lauder began in 1946 in New York as primarily a skin care line with a hand full of products. Joseph Lauder and his wife Estee expanded and in the 1950’s was the first company to introduce the free sample and gift with purchase, giving away miniature lipsticks, rouges, eye shadows, and face creams. Today this plays a key role in our shopping experience and the companies marketing strategies, I love the little goodies and I learned that if it is seasonal I purchase a few extra in case they became unavailable.

 

 

Revlon

 

 

Revlon was founded in 1932 by two brothers and a chemist, with just one product a nail enamel. The company moved into stores and soon became a popular household name. In the 1950’s Revlon decided to start bringing out lipstick shades every six months rather than annually, so that women would think of lipstick as a shorter-lived product and buy it more frequently It was Revlon too that launched the most famous lipstick advertising campaign of the decade, a campaign entitled “Fire & Ice” that first ran in 1952 with a two-page, full-color spread featuring model Dorian Leigh on the first page. The brand also famously issued questions to its customers to ensure the lipstick they were choosing did indeed suit their personality as well as their face!

It was Charles Revson, who co-founded Revlon, who made nail polish popular in the United States. In the 1950s, Revson spearheaded some advertising campaigns for matching nail polishes and lipsticks that are still lauded to this day. He tied the personality of his potential customer to the product, most notably in the “Fire and Ice” advertisements — if you were the type of woman who wanted to bleach her hair platinum without her husband’s consent ( funny about the consent part), for example, then you were the perfect candidate for this new color of lipstick and nail polish. Revson was threatened, however, when a new kissproof lipstick entered the market to great acclaim. In the 1950s, chemist Hazel Bishop developed the formula for a lipstick that would stay put, and the success of her product resulted in “the lipstick wars” between Bishop’s company and Revlon.
Ultimately, Bishop didn’t prove herself to be as canny an entrepreneur as Revson and other personalities of the time.

 

Revlon 1950’s Lanolin Lipstick 

 

 

 

 

Hazel Bishop’s No Smear Lipstick

 

 

No7

 

No7 Cosmetics was born in 1935 although properly relaunched (after ceasing  production during the war) in 1952. The brand was completely influenced by Hollywood and was the first brand to add a synthetic pearl pigment to its products giving it a shiny white effect.

 

 

Elizabeth Arden

 

Elizabeth Arden (née Florence Nightingale Graham) started her salon in 1910 on 5th Avenue in Manhattan.  Her salon’s signature was a bright red door, and the salon and her treatments soon became popular with the masses. The business expanded into a complete line of cosmetics, perfume this brand was popular in the 1950’s for it’s extensive range of lipsticks and matching nail polishes.

A world leader in the cosmetics industry since the 1920s, Elizabeth Arden was acquired by Unilever PLC, a conglomerate of consumer product companies, in 1990. It became an independent, publicly owned company in 2001, when it was purchased by FFI Fragrances. That company took the Elizabeth Arden name.

Elizabeth Arden, who founded the company in 1911, can be credited with singlehandedly laying the foundations of the modern American cosmetics industry. Elizabeth Arden was born Florence Nightingale Graham in Canada during the late 1870s. Named after the renowned nurse who served during the Crimean War, Graham grew up in a large, poverty-stricken family. She was unable to finish high school because her family lacked the finances, she told herself that nursing was her true vocation and she trained for that profession. Graham quickly realized that the decision was a mistake. It was sales, not suffering humanity, that finally lured her and tapped into her real talents.

While she was a student nurse, Graham discovered a chemist experimenting with a facial cream that could help acne sufferers. The concept intrigued her, leading to her conviction that most women would give anything for beauty.

Landing a job as a bookkeeper for the prominent Squibb Pharmaceutical Company, she was impressed by the state-of-the-art laboratories and the constant attention to research and development. This inspired her to fashion a small lab of her own, where she might “scientifically” test out her own ideas for beauty products. Before venturing into this unknown arena, however, Graham quit her job at Squibb to become an assistant in a newly established beauty culture salon. Catering to a wealthy clientele, these early beauty parlors came to be the nucleus of the future cosmetics industry.

While the suffragettes were taking steps towards women’s rights, their emancipation had not reached the point where “Miss” connoted respectability, and Graham decided to use “Mrs.” Her former partner’s name, Elizabeth, appealed to her, although a new last name was harder to come by. She finally chose Arden after reading the name in a poem by Alfred, Lord Tennyson. The new name seemed to evoke the prestige and understated glamour that Graham not only craved for her business, but for herself as well. Thus Florence Nightingale Graham became Elizabeth Arden. Her life story is a perfect example to strive in life and not let average challenges stop us from doing what we truly believe is our passion!!!

 

 

Rimmel

 

 

 

Rimmel began its life in 1824, when a teenage Eugene Rimmel became his father’s apprentice at his newly opened perfumery in London. Eugene was an expert perfumer himself, and had a passion for cosmetics, at the age of 24 he opened up his own flagship store in Regent Street. When he died, in 1887, his two sons took over the business and it grew and grew. Rimmel played a key role in eye make up revolution in particular the mascaras, which flew off the shelves. In fact, the word ‘rimmel’ means mascara in many languages. The brand has changed hands numerous times since the Second World War and for the past 16 years it has been part of the fragrance company Coty Inc. The range is now sold in more than 40 countries and is Britain’s best-selling cosmetics brand.

By the 1950’s cosmetics were a big business and advertising was a key role in the marketing of the products. Other important brands of the decade that sadly no longer continue to trade are Gala who added titanium to their lipsticks to give them a bright white appearance on application they also made a lot of mid tone colors in lipsticks. Goya was an important brand too as it was the first to develop the lip liner and offered a dual product for lipstick application. These beauty products were now also available for the masses and at the lower end of the price scale; Woolworths produced a more affordable lipstick line.

 

 

1950s Makeup: What You Need

 

 

 

from: http://vintagedancer.com/1950s/1950s-makeup/

For this tutorial we are focusing on what real women wore on a day to day fashion. There are plenty of other 1950s makeup tutorials online that focus on heavier Hollywood, Pinup, or Rockabilly ’50s looks. They certainly have their place in history but for 99% of women, this is the makeup they wore.

• Foundation & Powder: One shade darker than skin tone with a slightly pink tint.
• Rouge: Light pink cream rouge if you can find it. Powder blush if you can’t.
• Eyebrow Pencil: Natural or one shade darker than natural
• Eye Liner: Brown or black for day wear.  Colors to match your eye shadow if you want to be trendy.
• Eye shadow: Shades that coordinate with your eye color for most looks. Brighter shades to match your dress or accessories.
• Mascara: Cake mascara will give you the most authentic look. Brush mascara for a “thick” look is second best.
• Lipstick: Red, pinks, coral and orange tints in a matte finish. One shade lighter for day wear and darker for evening.

 

Foundation:

A pretty face begins with a empty pallet. After all night cream is washed off a layer of foundation cream is rubbed in to match the skin or a little bit darker.

After the foundation is on use cream rouge (not powder) applied in dots all over the face. Blend is all in so that your skin is now a pale pink (even if you have very dark skin a glow of pink is very important.) Add a little contouring by creating another layer of rouge on the forehead and just a tiny dab on the nose.

The ideal face shape of the 1950s was the oval face. If you have a square, round, diamond, heart or other shaped face there are tricks you can learn using darker and lighter powders to couture your face into the illusion of an oval. I recommend reading a 1950s beauty book to learn how (yes you can use modern sources too, but I guarantee they will not look the same.)

 

Rouge, blush:

Rosy red checks were out of fashion in the 1950s. If any rouge was used it was for contouring the cheekbones.  Apply a little creme rouge on the upper cheekbones and brush upwards to the temple, blending as you go. This high rouge application gives the face an overall lift. If you have naturally defined cheekbones you do not need this step. For round or pear shaped faces the rouge is applied a little lower and further out towards the ears.

Choosing a rouge color is best by trial and error. If you are going to be under artificial lights you may want to use a lighter shade since artificial lights tend to darken makeup.

A powder rouge should be applied after a dusting of face powder (next step) only if needed to bring out a touch more color. The ideal rouge is one that ads a health glow to the skin, not to have a painted face.

 

Face Powder:

On top the your now pink tone skin should go a light application of loose powder that is a tone darker than your skin. Press the powder into your skin than wait a few minutes before brushing off the excess.  The purpose of the powder is to reduce shine and give an overall blended tone to the entire face.  Choosing too light a powder will create a clown face  (yikes!)

Consider powdering your neck, shoulders and chest too if exposed with a low neck evening gown.

 

Eye Shadow:

Eye shadow in the early ’40s was seen as a subtle shadow not a color statement. Women were encourage to keep its use light and natural. This all changed by the mid 1950s when women were wearing colorful eye shadows that matched their couches, curtains, shoes and handbags.  Popular colors were dusty purple, violet, ice blue, silver, light or dark green, teal and gold. For day wear matching shadow to eye color was the most common. For evening a tint of silver for light eyes and gold for darker eyes was more elegant.

Eye shadow came in powder form but also liquid or creme which went on smoother and controlled the line. Eleanor Arnett of Beauty is Not an Age (1955) says “Do be careful about your eye shadow. That, again, can make you seem exhausted unless skillfully applied. This you do lightly, apply to the lower part of the upper eye lid only, unless you’re really young and can afford to look tricky.” Others disagreed and suggested shadow fade up to the brow line. As the decade progress the recommended amount of eye shadow grew with each year.

To apply, rub with your finger shadow on to the lower lid about 1/8 inch and only slighhtly past the outside edge. Use your pinky finger for the edges.  If you have small eyes, extend the shadow out past your crease another 1/8 inch.  For deep set eyes shadow will be hardly noticeable on the lower lid so use more on the upper.

 

Eyebrows:

Well defined eyebrows were the iconic look of the 1950s.  Most women tweazed their natural eyebrows to a thin, shapely line, and then darkened them with eye brow pencil.  Most eyebrow shapes tapered from a thicker inner corner to a sharp pointed outer tip. Use short brush strokes to mimic the drawing of single hairs.  The eyebrow arch could be straight across, slightly arched or deeply arched depending on your face shape:

• For Round/Square faces: A deep, high arch
• For Oval faces: slight or natural arch
• For Long faces: Straight across, minimal arch
• For Almond eyes: Follow the angle of your eye

In the mid 1950s the mandarin eyebrow trend removed the natural brow tips and drew back in the brow with an upward sweep much like the wing effect with eye liner. No two brows were ever perfectly asymmetrical and that was part of the charm of a 1950s painted face.

For women who didn’t want to use an eye brown pencil or were going for a more natural look simply shaping the brows in their natural best was recommended. One tip suggested brushing brows with a little bit of soap to keep them groomed and a bit darker than dry brows. Vaseline or olive oil also work instead of soap.

 

Eyeliner:

The doe eyed wing tip look started in the late 1940s but really made a statement in the 1950s. To create the look start with eye liner in the middle of the lid and extend it to the outer edge plus a smidge. The end of the line should angle up slightly and then back fill to the starting point to create a slight triangle.

By the mid 1950s the doe eye turned into the cat eye with a longer, thinner, extended line to the edge of the eye socket. The starting line also moved to the inner eye corner instead of the middle. There were hundreds of variations of cat eyes, from the length or thickness of the line, to the shape and length of the flip at the end. Color was even a factor. Black was recommended for black or dark brown haired ladies while brown eyeliner was better for blonds and red heads.

Eyeliner could be worn on the bottom lid but usually not.

 

Eyelashes:

An eyelash curler was not new to the 1950s but Kurlash improved the design with a cushion on the crimpers. Now women could curl with comfort. A light curl was an ideal first step to creating beautiful ’50s eyes.

Eye lashes were then topped with mascara (cake mascara, the mascara wand wasn’t invented until the very late ’50s) in the same color as the eye liner. In the mid ’50s many mascaras matched the eye shadows:  blue, violet, dark green or brown for light eyes and black for dark eyes.

To apply cake mascara damped the cake brush with just a little tap on the mascara pad. Apply to the underneath of the upper lashes by placing the brushes bristle down and dragged upward on the lashes.  Let dry and repeat. The application should be thick but not clumpy.

Only if necessary on very light colored eye lashes or small set eyes was mascara applied lightly to the lower lashes as well. This was usually just an evening addition.

 

Lips:

Lipstick colors were all over the place in the 1950s. Red was still very popular but so were lighter, innocent shades of coral, pink and orange. A woman had a new shade for every season and time of day.

Natural lip shapes of the 1950s followed those of the 1940s but thinned out somewhat. Lips were simply colored to their natural shape, using softer colors. If overdrawing was done it was to reduce the peaks to a smaller valley and rounder shape that extended out to the corners of the lips. This added fullness all around rather than just at the top or bottom, like in the 1940s. The thickness of the top and bottom line were usually equal.

To apply lipstick first use a lip brush to drawn the outline, then fill in with lipstick. Press lips together for one minute. Wait a few minutes then blot the extra off with a tissue. Apply a light powder for all day staying power and top again with lipstick for a little gloss. 1950s lipstick was still a matte finish. Not glossy finishes were in style yet.

 

 

 

One Amazing lady Brigitte Bardot 1951

 

I would like to make a dedication to one of my favorites, and I have so much gratitude in life for placing me at the right time and right place when I met her and did make up on her.

 

 

 

To Buy the Make-up & Beauty – A 1950’s Guide click the image bellow:

 

 

Marilyn Monroe – Iconic Make-up Look

 

Historically Accurate: 1950s Makeup Tutorial

 

Make-up History – 1940’s to 1970’s

 

1950’s Beauty Guide – Removing Make-up

Cheekie Trio: Destiny, Rosie & Posie

Add lovely color to your cheeks or lips. Keep it more sheer for a subtle look or use layers to create a more bold color

• “Peachie” is a juicy peachy coral
• “Rosie” is a vibrant sheer raspberry
• “Destiny Cheekie” is a natural pink flush
• For all skin types and ideal for all skin tones
• A sheer, vibrant, creamy blush and lip color formulated with Julie’s signature ingredient – Camellia Oil
• This multi-tasking cheek & lip shine brightens up your look in seconds and gives the appearance of an instant healthy glow.
• Applies and blends like a dream
• Formulated with Camellia Oil, Grape Seed Oil, Mango Seed Butter and Vitamin E to help nourish and hydrate your skin while adding a beautiful pop of color
• Paraben-free and talc-free formula

 

Belle Noir

Belle Noir is a bright, coral, 50s red lipstick. The Noir Collection features our best red lipsticks. Triple-pigmented matte formula means long-lasting and gentle on your lips thanks to healing camellia oil. Pair with matching liner.

 

 

Deux Lux Maya Perforated Tote

• The stunning Maya Perforated Tote is sure to catch everyone’s eye!
• Made of vegan leather.
• No closure.
• Dual flat carry handles.
• Exterior features beautiful laser cut design.
• Flat base.
• Unlined interior flaunts a back wall slip pocket.

 

Free People Snowdrop Lace Trapeze Dress

• Feminine mini dress with gorgeous floral lace.
• High neckline with button closure at nape.
• Adjustable straps at open back.
• Sleeveless construction.
• Scalloped hemline.