Наталья Найда. Мастер-класс Жирная коррекция в вечернем макияже часть-1
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00:00 When all shades are clearly visible, all nuances are visible.
00:10 And when we talk to you about the fact that it is light,
00:14 I'm not kidding with a glass,
00:16 when we talk about the fact that this is evening makeup,
00:18 I can lower this shade and play just on the lightness.
00:22 Therefore, here I will show you a fat correction that will be justified.
00:27 I love evening fat correction,
00:30 I love fat correction with brides,
00:34 and very often I do fat correction with an elderly woman.
00:37 Because it is closer to the skin texture.
00:41 Dry products on dry skin, on thin,
00:44 they dry a little and look a little heavier.
00:48 I promised you today to show you the new products that I like.
00:55 You will perceive that I am boasting.
00:58 As a base, I will start now with this product.
01:03 This is a Strobe 24.
01:06 What do I like about it?
01:08 This is a Korean.
01:10 It is not bright, it is pink with gray.
01:13 Your friend is a crayon.
01:15 It is pink with gray,
01:17 so it gives a glow, but does not give a bright pigment.
01:21 And it can be used as a base,
01:24 when I want the skin to shine from the inside.
01:27 Or when everything is finished,
01:29 you do a photo shoot,
01:31 it makes a perfect fat sculpture, a glossy sculpture.
01:34 If we talk about shooting, about photos,
01:37 it catches this glare,
01:39 and it turns out such a face,
01:41 as if it were stretched, like oil.
01:44 I also use this Strobe cream
01:47 when it comes to dry skin.
01:51 It gives the illusion that it moisturizes.
01:55 It does not moisturize itself,
01:58 as a structure,
02:00 but it lies very well and feels very good.
02:03 I can not use a base,
02:05 a mixture in this case,
02:07 if we are talking about the next step.
02:10 A little bit so that the camera can see.
02:13 Look now.
02:15 Beautiful?
02:17 What are you doing, Masha?
02:19 You have a new phone, Masha.
02:21 Everything is beautiful.
02:23 Honestly, it's beautiful.
02:25 And so I put it on the protruding part.
02:30 Now you see how it lies.
02:34 If, for example, the question is,
02:37 what do you put on it?
02:39 I avoid those areas
02:42 in which I do not need the face to shine.
02:45 Accordingly, this is the nasolabial fold,
02:48 the volume near the nasolabial fold.
02:51 This is the forehead,
02:53 in the part where he sweats.
02:56 In this case, look,
02:58 here is the volume again.
03:00 We skip, our strobing will start
03:02 from the drooping.
03:04 I'll finish it later.
03:06 A little bit, right?
03:08 A jar?
03:10 I forgot.
03:12 I read the comments, I cried.
03:15 Show how many people are in the room.
03:18 120 and us 120.
03:20 We are a lot.
03:22 Korean letters.
03:24 Natasha, what number?
03:26 He is one.
03:28 He is one.
03:30 And we did not analyze
03:32 which one is in the group.
03:34 We just took it right away.
03:36 And I look, I don't work with color yet.
03:39 What am I working with?
03:41 With texture, cat.
03:43 Therefore, it is not fundamental for me here.
03:46 In your case, this is a texture.
03:48 Gray-pink.
03:50 There is more light.
03:52 The peculiarity of the strobing,
03:54 especially this strobing,
03:56 it's just white.
03:58 He is pink.
04:00 She became whiter, of course,
04:02 because the light became more.
04:04 Well, not the skin became lighter,
04:06 the light became more.
04:08 I apply it down, of course,
04:11 because I have a lot of this part.
04:13 Kulia, what are you buzzing?
04:16 We are already scratching.
04:18 And I applied a little bit to the corner.
04:22 At this stage, the light increased.
04:25 And you see now how it will look
04:28 in the shooting if it is on the tone.
04:30 It will be so wet.
04:32 This strobing can be mixed
04:34 if you want, for example,
04:36 make a wet eye for a photo shoot.
04:40 It is not dense, girls,
04:42 it is not dense, it will not dry out.
04:45 It is not resistant if it lies on the tone.
04:48 Do not expect from him that it is ...
04:50 You know, this is how we look for eternal correctors,
04:53 that is, technicians are looking for eternal correctors.
04:55 And those who work in shooting,
04:57 I have a feeling, how many years I have been working,
05:00 so many people are looking for products
05:02 that give gloss to the eyes,
05:04 but do not roll off and last for a long time.
05:06 Although, in principle, everyone is friends with physics,
05:08 they understand that this is not very real.
05:12 They ask if it looks like strobing.
05:15 It does not look like strobing.
05:18 It is different.
05:20 It is dense, it is fat, it is very dense.
05:22 Strobing is a base, it just gives a shine.
05:25 You saw yesterday, it was delicate.
05:28 In the afternoon it was possible to go out with strobing.
05:30 It was possible, but here, after all,
05:32 this effect will be more intensified in the evening.
05:36 Further.
05:38 The next moment.
05:40 Girls, while I was evaluating my model,
05:42 when I stood far away,
05:44 it seemed to me that she was straight gray, grayish.
05:46 But when I came closer,
05:48 the moment I saw,
05:50 a little yellowish freckles are there,
05:52 skin lightness, a little redness in the face,
05:55 there is also.
05:57 That is why, working with her,
06:01 I will go to the level of gray-white.
06:05 I am working now with wax.
06:09 I will work with a palette.
06:12 I am interested in its lightness, its darkness.
06:16 And I am not very interested in the shade,
06:18 because we are talking about the evening.
06:20 I will remind you again.
06:22 Therefore, all the products with which I will work,
06:24 I will take them by hand.
06:26 This is a feature of working with what textures?
06:29 With wax textures.
06:31 Here we have such a neutral wax shade.
06:34 Just in case,
06:36 I show you that when I bring it to the neck,
06:39 it is almost the same color.
06:43 Here it is.
06:45 If I bring it to the neck,
06:47 look, it is very close to her skin.
06:50 I exclude the light.
06:52 I'm going only to its lightness now.
06:54 Further.
06:55 If I did not use the straw,
06:57 I would take this light shade in a couple.
07:00 It would lie on the places where the straw is now.
07:03 In order to lighten.
07:06 Further.
07:08 To work with this product correctly and beautifully.
07:13 Firstly, I remember and know that this is a wax that...
07:17 - Warms.
07:19 - Warms.
07:20 Therefore, if you apply this product with a brush,
07:23 it will be...
07:25 - It will lie well.
07:26 - No, it will lie well, it will be dense.
07:28 And I do not want dense.
07:30 Despite the fact that this is an electric lighting,
07:33 the skin should be very high quality.
07:36 Light on every texture.
07:38 Therefore, look, I warmed it on my hand.
07:41 And then I'll start with the finger first.
07:45 And especially when I tint,
07:48 I will call you to see
07:50 and see how it lies in density nearby.
07:54 I put it on a little.
07:56 And then, the second tail, yes, I grind it.
08:01 This is a karlin.
08:03 Karlin.
08:05 I think this is the older brother of the brush
08:08 that you liked last time.
08:11 Further.
08:13 They are different, here at once a large area,
08:16 and this brush is very good at grinding.
08:18 It is straight grinding.
08:20 By the way, your kharkov, I want to say.
08:23 - Thank you.
08:24 - Take it all.
08:26 - Where did you get kharkov?
08:28 - Kharkov, we have a karlin presented in kharkov.
08:31 - Is it our favorite?
08:33 - Yes, wax can be applied to the eye area,
08:36 if I warmed it well on my hand.
08:38 - Does not make it heavier?
08:39 - Does not make it heavier.
08:42 It is thin wax.
08:44 Let's say, you know, such a moment.
08:46 I read a lot of articles that concern
08:48 concealer for very adult women under the eyes.
08:52 And here is the moment with which I completely agree.
08:55 Yes, look, please.
08:57 There is a line left, there is a line left, you see?
09:00 Yes, it is not so bright, I do not need it.
09:03 Yes, she should not shine for me, as if she is hot.
09:06 She should be so highlighted for me, of course.
09:10 Therefore, I do not leave it so dense.
09:13 So, in the article that I read, which I really liked,
09:17 and I, well, I agree, I do not know how you,
09:21 this is the moment that very often for an adult woman,
09:24 who has a lot of problems,
09:27 here really a lot of problems in the eye area,
09:29 these are problems related to dryness,
09:31 it is better not to use concealers,
09:33 because they are still a priori created as products,
09:36 very dense,
09:38 because they should work on dense problems.
09:41 They work well when this problem is one,
09:44 only with the eyelid,
09:47 everything else, we are young, beautiful,
09:49 we have, as it were, with the skin, everything is good,
09:51 she is moisturized, and so on.
09:53 But when we understand that we are working with an adult woman,
09:56 who has a bouquet of problems,
09:58 and the problem of the eye area,
10:00 she usually has not so much color,
10:03 how much what?
10:05 Skin texture, frizz, and so on,
10:08 it is about that in this article it is recommended
10:11 to use a toning agent,
10:14 mineral, which is very thin,
10:17 and which can be applied, if necessary, in two layers,
10:20 to hide the problem a little more,
10:23 but which, due to the fact that it is mineral,
10:26 does not give weight to the skin.
10:28 And I can say that I use it,
10:30 when I work with adult women,
10:32 I really like it.
10:35 And the wax textures,
10:37 they are similar in nature,
10:39 and you will see,
10:41 do not forget the ears,
10:43 when you apply it to dry skin,
10:45 you can apply it to dry skin,
10:47 wax texture,
10:49 because the wax itself does not dry,
10:52 but it is not able to increase frizz.
10:55 - First the base.
10:57 - They ask what it is called.
10:59 - Wax tone?
11:01 - Yes.
11:03 - I wanted to ask,
11:05 I know that girls work on wax,
11:07 on graphite, right?
11:09 - Yes.
11:11 - How does it behave,
11:13 if you compared macro and graphite?
11:15 - We did not compare.
11:17 - But is it thin or dense?
11:19 Who else uses graphite?
11:21 - If it is broken, then it is thinner.
11:23 And if it is broken and energized,
11:25 then it is very dense.
11:27 - In principle, all waxes behave like this.
11:29 - It looks like.
11:31 - Yes.
11:33 - Look, this tone,
11:39 until it is fixed with powder,
11:41 it is not resistant.
11:43 And so if you work ...
11:45 - They say, they remove the crepe,
11:47 I say yes.
11:49 - Is this our tone?
11:51 - I do not know.
11:53 - If you do not fix the wax tone with powder,
11:55 it will never be resistant.
11:57 If you fix it correctly,
11:59 it becomes water-resistant.
12:01 I will show it here.
12:03 Now I have a fairly
12:05 not dense coating,
12:07 girls.
12:09 And at the same time, look,
12:11 it is very dry.
12:13 Photoshop effect.
12:15 And it will turn on
12:17 if you take a picture of it.
12:19 You will see the reflection of light,
12:21 very beautiful.
12:23 This is due to the fact that there is this HD factor.
12:25 - And about hair?
12:27 - It's hard for me to say.
12:29 You know why?
12:31 Because I do not work
12:33 with the client very much now.
12:35 But even not fat skin.
12:37 I do not agree here.
12:39 When Alan was our guest,
12:41 Alan Bruner,
12:43 we asked him, he also had a question,
12:45 what tone do you recommend for lifting?
12:47 And he recommended the cream.
12:49 I do not agree here.
12:51 And I do not work with older women,
12:53 make-up and matte,
12:55 for one simple reason.
12:57 A woman who has
12:59 climacteric influxes,
13:01 well, as if the heat.
13:03 The face becomes very hot at first,
13:05 and then sharply very cold.
13:07 When it is very hot,
13:09 the hair will melt.
13:11 And so for me,
13:13 this product,
13:15 its properties, its chemical properties
13:17 are not suitable for lifting.
13:19 For young skin, for shooting,
13:21 I really love.
13:23 If I finish,
13:25 I'll show you how it works.
13:27 I still leave the area of the mobile eyelid.
13:29 That is, I still have a moment here.
13:31 Well, here it is beautiful.
13:33 And look, I took into account
13:35 the grayness that is present,
13:37 but at the same time I made the face
13:39 exactly half a ton lighter than the neck.
13:41 This is also intentional
13:43 with fat correction.
13:45 Because, firstly,
13:47 when photographing,
13:49 due to the heat,
13:51 the tap will be a little lighter.
13:53 Secondly, I will now do a sculpture.
13:55 When sculpting, there will be a darkening.
13:57 Therefore, our next tap
13:59 is a fat sculpture.
14:01 And you now see,
14:03 I'm doing modeling now.
14:05 When I finish with the skin,
14:07 we will pause, you will come up
14:09 and look live.
14:11 And the hair on the face?
14:13 Do you glue?
14:15 The hair is not colored.
14:17 The hair is not colored.
14:19 And where is the color?
14:21 I do not know.
14:23 Beauty Blender.
14:27 This is just an attempt to show you
14:29 something new, girls.
14:31 I actually do the same.
14:33 Beauty Blender is no worse.
14:35 I like it very much.
14:37 Next, the corrector.
14:39 When we did this corrector,
14:41 it's a question of color again.
14:43 I have a Zoya now.
14:45 We are for this corrector.
14:47 France once told us
14:49 that we will make all the pigments
14:51 for you.
14:53 And I think they are now very sorry.
14:55 Because this corrector,
14:57 we returned them 6 or 7 times.
14:59 All this mail, well, according to their account.
15:01 They did not succeed.
15:03 It was all very active.
15:05 Because we were looking for a corrector,
15:07 which, on most shades of skin
15:09 with which we worked,
15:11 will not give
15:13 additional color.
15:15 And here it is in the palette
15:17 as if reddish,
15:19 and on the skin it does not have
15:21 such a clear redness.
15:23 Therefore, when we sent,
15:25 for example, we sent with comments
15:27 "Everything is fine, the texture is good,
15:29 but there is a lot of this color."
15:31 And they gave us the following options
15:33 until they interfered
15:35 with this shade.
15:37 Now look, I put this corrector.
15:39 Girls, it's hard.
15:41 I put this corrector without warming up
15:43 on my hand.
15:45 Because I need it to lie more tightly.
15:47 And then you can
15:49 Beauty Blender,
15:51 and you can Duofibre.
15:53 This brush is Felixstein.
15:57 Felix, hello!
15:59 He is probably an Orletin,
16:01 I think.
16:03 And now look, I built a lower shadow.
16:05 Do you see that I built it?
16:07 - We do not see.
16:09 - And the result?
16:11 - Wow!
16:13 - It does not go into color.
16:15 It just gives a natural shadow.
16:17 Further.
16:19 I noted the difference
16:21 between fat and dry.
16:23 Dry sculptor can not be applied
16:25 to your patina,
16:27 because you are right on the bruise.
16:29 Fat can be needed,
16:31 because you calculate the lowest limit,
16:33 below which you will not go.
16:35 And you will understand how to move.
16:37 Further.
16:39 Fat corrector
16:41 I always apply according to the principle.
16:43 First, a half-shadow.
16:45 I'll show you in the second work.
16:47 First, a half-shadow,
16:49 and then a shadow,
16:51 which deepens.
16:53 As we talked about a full woman.
16:55 Fat corrector
16:57 I apply in another way.
16:59 First, a shadow, direction, line,
17:01 and then its shading,
17:03 its stretching.
17:05 When shading,
17:07 I apply as much light
17:09 as is present
17:11 in the smallest part.
17:13 Now look.
17:33 When you give such a markup,
17:35 the lower part is shaded.
17:37 When the girl turns in the profile,
17:39 it is visible.
17:41 Our problem is that we work all the time
17:43 straight.
17:45 To avoid this,
17:47 a little bit on the dofibro,
17:49 in this part grow hairs.
17:51 And I'm by the growth of hairs.
17:53 This is the same corrector.
17:55 I very carefully tighten them.
17:57 To remain direction,
17:59 but at the same time
18:01 the stripedness has disappeared.
18:03 Do you understand?
18:05 What?
18:07 What?
18:09 Again?
18:11 It's so fast.
18:13 Natasha, two more words.
18:15 How did you determine the place
18:17 of the cheekbone?
18:19 Her natural drop.
18:21 She is clearly readable.
18:23 I started from the most honest,
18:25 from the second side, already technically.
18:27 Let me show you.
18:29 Natasha, dark,
18:31 I'm sorry,
18:33 one shade.
18:35 Look, here is the direction of the shadow.
18:37 Look at the screen.
18:39 You will see it on the screen.
18:41 It is clearly visible.
18:43 Her natural drop.
18:45 When this shadow is clearly visible,
18:47 then the person already has
18:49 birthed relief,
18:51 acquired relief of her smile,
18:55 or the second part of the drop.
18:57 But there is no age moment yet.
18:59 Therefore, you see a clean,
19:01 almost the same,
19:03 in saturation,
19:05 shadow line.
19:07 Due to this line,
19:09 it divides the area
19:11 of the lower jaw in half.
19:13 But not exactly in half,
19:15 agree?
19:17 This part, and this one less.
19:19 Therefore, first,
19:21 in order for me to have something to push off,
19:23 I start just from this dark line.
19:25 I built it.
19:27 Now it is emphasized
19:29 as it exists in her nature.
19:31 Here it is.
19:33 Now you can see very well, right?
19:35 On the screen.
19:37 Now look, how little here,
19:39 how much here.
19:41 And at the same time, understand that if you draw stripes
19:43 face sculpture,
19:45 you get an amplification of all volumes.
19:47 She immediately has a heavy nose, for example.
19:49 Do you understand?
19:51 That is, these things are just
19:53 good to look at, so that you understand
19:55 that you can't just sculpt with a shadow.
19:57 You must give movement.
19:59 Further.
20:01 I start to shade.
20:03 I shade on the most convex part.
20:05 And I shade until
20:07 in my largest part
20:09 there will be as much light
20:11 as in the smallest.
20:13 Look, the line is left,
20:15 but at the same time what appeared?
20:17 Movement, half a shadow.
20:19 Further.
20:21 I leave it, do not finish it right to the end.
20:23 As soon as this zone appeared,
20:25 look, please, at this volume.
20:27 He got out.
20:29 Yesterday we talked about the lowered line.
20:31 I recommend lowering
20:33 so that this part becomes smaller.
20:35 I say that when we lower the cheekbone,
20:37 what is fashionable now,
20:39 this part becomes more.
20:41 Because the shadow turns,
20:43 and here is the volume.
20:45 Now turn your face in this direction.
20:47 Look, how soft it is here.
20:49 Can you see?
20:51 And now look at this part.
20:53 How hard it is here. Why?
20:55 Why did it become big?
20:57 Because the shadow is.
20:59 Yes, the excess light is emphasized.
21:01 It got dark here, this part got out.
21:03 Therefore,
21:05 therefore, the half-shadow
21:07 must be returned down.
21:09 And only because of this,
21:11 not because something needs to be reduced.
21:13 And so I worked it.
21:15 It is lighter than the most
21:17 the main one.
21:19 Half-shadow.
21:21 And immediately very carefully,
21:23 look, in order not to reduce
21:25 what is so little,
21:27 I dry it.
21:29 Where do I move?
21:31 Down all the time.
21:33 That is, where did you take it,
21:35 there and hid it.
21:37 And the last stage
21:39 I already soften
21:41 that part so that I do not have
21:43 a nasolabial line.
21:45 And straight.
21:47 And she is just a beauty.
21:49 Now look.
21:51 Not because you need to correct the nose.
21:53 We have a beautiful, neat nose.
21:55 And I do not often
21:57 correct the client's nose
21:59 in the salon, because it is visible.
22:01 And because I have a corrector here,
22:03 here, there too.
22:05 That is, I work everywhere in a circle,
22:07 and there is nothing on the nose.
22:09 And he will just be very white.
22:11 And if he is very white, he will be very big.
22:13 That is why
22:15 I do not do anything else.
22:17 I work a little bit on the back of the nose.
22:19 I do not remove the length,
22:23 just so that
22:25 this zone stops being bright.
22:27 Look, he does not model,
22:29 he just fits
22:31 into what is.
22:33 And I have enough of this.
22:35 Natasha, tell me, if the girl has improved a lot,
22:37 who does this natural effect?
22:39 When is it corrected?
22:41 Repeat again.
22:43 The girl has improved a lot.
22:45 It opens up, expands.
22:47 This is a natural line.
22:49 She will cut
22:51 absolutely.
22:53 She will cut a lot.
22:55 How do you close?
22:57 Half a shadow. Dry correction.
22:59 First, half a shadow, reduce the excess,
23:01 what appeared.
23:03 And then the shadow, change the direction.
23:05 And work better in dry correction?
23:07 In dry.
23:09 Yes.
23:11 Always down.
23:13 I can work, move up half a shadow,
23:15 if this zone is large.
23:17 And I'm not afraid
23:19 that I will overdo it.
23:21 And in all other cases,
23:23 I work this way.
23:25 She sets us, by the way,
23:27 I did not see her when I announced the topic,
23:29 she sets us such a trend.
23:31 She is now like Kim Kardashian.
23:33 So, turn your leg.
23:35 For one example, Samira,
23:37 and so on.
23:39 Further.
23:41 I now, look,
23:43 "buzz".
23:45 Audrey Hepburn wrote yesterday.
23:47 From the side it is more noticeable,
23:49 in fact, than we are with you.
23:51 Further I am working a little bit,
23:53 only the light zone,
23:55 which is under the eyelashes.
23:57 There is a little bit of red left,
23:59 I have no eyes.
24:01 I have no blue at all now.
24:03 And in fact, I have a big shading here.
24:05 She will be like this,
24:07 evening,
24:09 and this color
24:11 I do not really mind,
24:13 so just beige,
24:15 a ton lighter than what I did.
24:17 This is Armani Maestro.
24:19 Look right away.
24:21 Now you can see the difference,
24:23 because it rose a little higher.
24:25 And one more thing.
24:27 Yesterday I tormented you
24:29 about the lower volume under the eyelashes.
24:31 Remember?
24:33 And here you should see,
24:35 clearly,
24:37 strongly expressed.
24:39 And this is very cool for the topic
24:41 that I will show.
24:43 - We increase the volume of the eyes.
24:45 - Of course.
24:47 And if you ignore this volume,
24:49 you just will not understand
24:51 what to do with it,
24:53 then you will not have less eyes.
24:55 In the photo,
24:57 instead of these nice cute volumes,
24:59 in the photo and in the evening lighting
25:01 there will be two bags.
25:03 And this is because we did not take into account
25:05 them from the beginning.
25:07 What do I do next?
25:09 - And this is a drop,
25:11 which is under the volume.
25:13 We will not lighten it,
25:15 pull it out?
25:17 - No, it can not be lightened.
25:19 This is a dry drop.
25:21 When applying the product there,
25:23 it will deepen due to dryness.
25:25 But I will work.
25:27 Remember, we said yesterday
25:29 that the same question is solved
25:31 at the stage of correction,
25:33 and I can at the stage of makeup.
25:35 This drop that appeared
25:37 due to the fact that it has a convex lower eyelid,
25:39 I will remove it when I will build her eyes.
25:41 Not with a corrector,
25:43 because in dry wrinkles
25:45 correctors emphasize the problem more
25:47 than remove it.
25:49 So what do I do next?
25:51 Next, I will immediately,
25:53 at the same time, dry and enhance the shine,
25:55 and work with powder.
25:57 On each site will lie your product.
25:59 Why this method?
26:01 So that at the end,
26:03 you can immediately powder,
26:05 then on top of the powder
26:07 immediately a highlighter,
26:09 and a corrector, and a shadow.
26:11 In the end, the feeling that the skin touched
26:13 and it went pieces
26:15 to fly in turn.
26:17 Therefore, when you planned
26:19 what should be more clearly,
26:21 more exaggerated,
26:23 I will now have a cross modeling.
26:25 When I start with a fat one,
26:27 I exaggerate in dry.
26:29 If it will be plus powder,
26:31 and then on powder,
26:33 then in the end it is a clown.
26:35 Because there is a lot of everything.
26:37 If you clearly know where light,
26:39 where dark,
26:41 I begin to dry.
26:43 Shimmer dries the site
26:45 on which there should be light.
26:47 It is dry.
26:49 Powder is not needed
26:51 for it to hold.
26:53 It already lies.
26:55 I, for example, on wax,
26:57 I really, because I do not
26:59 I really like powder.
27:01 I often do modeling to clients,
27:03 if not so complicated.
27:05 I do modeling on dry skin
27:07 without powder,
27:09 immediately on fat correction.
27:11 Or immediately on tone.
27:13 This is another template of ours,
27:15 which without stereotypes.
27:17 We are used to the fact that this product
27:19 should be a priori.
27:21 I believe that powder is not the product
27:23 that you need.
27:25 - Take a soft brush.
27:27 - First powder,
27:29 then all the other things.
27:31 - Wiping powder is a little different.
27:33 It is screwed.
27:35 It is best when you polish it.
27:37 And if you polish it,
27:39 you will wash everything you did.
27:41 It is important for me here
27:43 to dry each area.
27:45 Girls, look.
27:47 I used dry highlight.
27:49 - And this is a little bit.
27:51 - Look at once.
27:53 - Beautiful?
27:55 - We also worked under the eye.
27:57 - I started with the protruding part.
27:59 And when the rest was shaded,
28:01 I went to the eye area.
28:03 She has a bag.
28:05 - In my case,
28:07 I can go here and sleep.
28:09 - And if it is even,
28:17 then you can go in.
28:19 - Girls, at this stage,
28:21 look, my shine zone is already dried.
28:23 And plus it was additionally highlighted.
28:25 And nothing else is needed there.
28:27 And it will still hold.
28:29 If you want it to hold
28:31 even better,
28:33 then you can add
28:35 additional liquid fixer,
28:37 which always fixes the makeup
28:39 in the intermediate stages.
28:41 - Let's?
28:43 - In the intermediate stages,
28:45 not at the finish stage.
28:47 And liquid powder fixer
28:49 can not be used.
28:51 Because the skin becomes sticky.
28:53 Powder is seen more than before.
28:55 Now look.
28:57 I spread everything dry.
28:59 - Beautiful?
29:01 - Very.
29:03 - Here I laid out.
29:05 Look, everything is dry now.
29:07 Further I will lay out
29:09 correction.
29:11 Corrector.
29:15 And then I will continue to refine.
29:17 I have a correction.
29:19 Well, in fact, there is.
29:21 Sculpture, which I can
29:23 emphasize,
29:25 I can just exaggerate the shadow.
29:27 There is a shading,
29:29 half-shadow, duplicate is not necessary.
29:31 Do you agree?
29:33 - Yes.
29:35 - Therefore, I take a dry corrector,
29:37 put it on the edge.
29:39 And all these famous turns,
29:41 which concern exaggeration,
29:43 let's say that we have
29:45 falling from the fist, if we want.
29:47 If this girl is young.
29:49 I'm already working in the finished shading.
29:51 I can stop like this.
29:53 Look.
29:55 And since the drug is dry,
29:59 you must understand,
30:01 it has already dried up due to the fact that
30:03 I work with him.
30:05 I just, well ...
30:09 If someone loves powder,
30:11 I don't want to be such an agitator.
30:13 - And this is a duplicate wax with dry corrector?
30:17 - Yes, wax with dry corrector.
30:19 Look, I ran easily
30:23 over all
30:25 shadow parts now.
30:27 Further.
30:29 I did not apply there,
30:31 we have a low forehead, so there was no half-shadow there.
30:33 But in the dry version, again,
30:35 not to reduce,
30:37 but so that it is compared
30:39 to all the rest,
30:41 the sky is very white.
30:43 I'll walk a little along the roots of my hair.
30:45 And a little bit of this volume,
30:49 which is between the eyebrows,
30:51 if we planned a very dark job,
30:53 any shadow in the eye area,
30:55 all the volumes nearby will greatly increase.
30:57 Therefore, you do not even see
30:59 the half-shadow.
31:01 You just now on the screen
31:03 can see how the light is reduced.
31:07 - Especially for those who have this protruding bump
31:09 in these places.
31:11 - How ugly they called it.
31:13 - There is such a sponge, let's say.
31:15 - Look, please, I did not make her
31:19 a picture.
31:21 I just took away the extra light.
31:23 This is a big difference.
31:25 At this stage,
31:27 most of my points
31:29 are already dried.
31:31 And again,
31:33 half-shadow, so that there is no nose in what?
31:35 - Yes.
31:37 - You see, I'm instead of powder
31:39 immediately dry and at the same time
31:41 emphasize the triroe.
31:43 That is, it is fixed
31:45 and does not overload the skin.
31:47 What to do next?
31:49 I have such a satin.
31:51 Satin, not pearl, satin.
31:53 Those areas that remained
31:55 without powder,
31:57 not dried,
31:59 with the same small brush
32:01 and very easily
32:03 I go through
32:05 satin highlight.
32:07 And I will not fix it anymore.
32:09 Just do not need.
32:11 - What?
32:17 - I do not need powder at all.
32:19 - I do not need powder at all.
32:21 - His Natasha just needs to make
32:23 a big puck and such as powder.
32:25 - Well, yes.
32:27 - We have already reached the point that at school
32:29 the tone is in the volume of liters,
32:31 not in kilograms.
32:33 We still have the correctors
32:35 with the size of a wheel.
32:37 And we will be just happy.
32:39 - How is it called in liters?
32:41 - It's called "contour kit".
32:43 Look, please, now turn a little.
32:45 Good?
32:47 - Very.
32:49 - And now look, everything seems to be dried.
32:51 It would seem that everything is more.
32:53 In no case, according to the templates, we say
32:55 fat, nothing.
32:57 You can not.
32:59 - And if I put dry blush,
33:01 it's another layer.
33:03 - Thank you.
33:05 - If I put dry blush,
33:07 it's another layer.
33:09 There is no fat blush.
33:11 But the wax, on dry, works great.
33:13 I take a little blush.
33:15 Look, and now I'm starting
33:17 refine the color.
33:19 And I just love this color very much.
33:21 He is very cool.
33:23 White,
33:25 warm pink.
33:27 When I work,
33:29 already look.
33:31 - And duplicate.
33:33 - Now I work crosswise.
33:35 One, second, one, second.
33:37 And if there was powder between them,
33:39 then at the end - hard tin.
33:41 Here I fixed it and duplicated.
33:47 I could leave it like that.
33:49 He would lie down and not interfere.
33:51 Well, this is our work.
33:55 - Correction on the fact that
33:57 there was a spot.
33:59 And correction on the fact that
34:01 you will now come closer to look.
34:03 Correction on the fact that in the eye area
34:05 just skin. You remember about it,
34:07 that there is just her skin.
34:09 And that I do not put anything there.
34:11 - But turn, please.
34:13 - You can now come up and look,
34:15 and immediately sit down, okay?
34:17 - Yes.
34:19 - Natus, let me quickly call you,
34:21 and then we will turn it off.
34:23 - Girls, we will turn on in 5 minutes,
34:25 when the girls will see everything.
34:27 Thank you.
34:29 Спасибо.