Анатомическая Техника часть-2
Transcript
00:00 The nose is bigger than the left one.
00:03 The right one is smaller than the left one.
00:06 Initially, it was a little bit, but because of that I cut it a little bit longer.
00:10 And now it still seems to be a little bit.
00:13 I'm silent, but it seems to me.
00:16 Here it is a little bit.
00:18 Let's correct it.
00:21 Yes, it is a little bit bigger.
00:24 People are asymmetrical, and it makes them beautiful, you understand.
00:29 A perfectly symmetrical face is not beautiful anymore.
00:32 Is it better?
00:39 Yes.
00:41 So, we will continue.
00:43 Now with the light, with the camera.
00:45 I'm almost with the mirror.
00:48 Powdered. Now you can work with dry correctors.
00:53 Already with the light, with the ruddy.
00:55 And here, remember, I said yesterday that we can raise the cheekbone, increase the volume, shift it.
01:01 Here is the case when you need not to raise it, but add volume.
01:06 I want to make it a little more embossed.
01:10 Therefore, with the light, we will work not in the upper zone, but on the convex part.
01:24 The cheekbone begins to increase in volume.
01:28 At the same time, some more contrast with the darkening appears.
01:33 And from this relief becomes more obvious.
01:36 See, yes?
01:38 Naturally, a lot of light is not necessary, because we have no goal to make the cheekbones white.
01:45 And only add light, add the effect of relief.
01:50 And just the option when, if you notice, when the cheekbone is rather convex, but not high, then the drops are pronounced under the eyes.
02:10 If the cheekbone is high, these drops are usually less pronounced.
02:15 Do you understand, yes?
02:17 And now, as for Kristina, the situation is the same.
02:21 See, the drops are not pronounced, they fall deep under the eyes.
02:25 Therefore, we add relief, volume.
02:31 Igor, can we add the sound somehow, or is it at maximum?
02:35 In my opinion, it is not regulated there.
02:38 And here is the blush, although I will make the blush fat at the end.
02:45 The nose, again, this zone, I will correct in more detail after the eye makeup, to combine it all.
02:53 I can, of course, do it now, but then it will be more difficult for me to bring it all into a more natural look.
02:59 Do you understand the meaning?
03:01 Therefore, we turn to the eyes, and let's figure out what we need to do.
03:07 The eyelids are not movable, rather flat.
03:11 You can see, yes? There is no such strong volume.
03:15 The movable eyelids, well, the asymmetry is not significant, so it will not be visible.
03:21 Other people, in fact, will not notice this.
03:24 But there is a shift, the vertical axis is quite strong.
03:29 Long falling lines, and along the eyelid and along the fold.
03:33 That is, we will need to somehow raise the fold, that is, round it like this.
03:40 Do you see the difference?
03:42 Yes, then the fall, and if we raise this zone a little, then it turns out a long rise.
03:48 The same on this side.
03:50 A little raised, and already a completely different effect.
03:53 Do you understand, yes?
03:55 Therefore, now I am toning.
03:59 Well, the fact that it brings the eyes closer is understandable, increasing them in length is also understandable.
04:05 Here, as it were, it was already voiced.
04:10 Therefore, I am toning again.
04:14 The second eye, yes, with a bunch of...
04:27 It flew on the gum, right?
04:31 I had to take a stick.
04:33 Would anyone sit there?
04:35 By the way, yes.
04:38 The model herself would hold it.
04:40 Students were asked to show the girls.
04:45 Showing.
04:47 A lot of masks.
04:50 Again, using the natural palette, you understand, yes, that we will not be here very original in this.
05:01 Yes, we have fun, we laugh.
05:04 So, again, the relief of the mobile eyelid is low.
05:19 You see that it is embodied.
05:21 I also want to add a little relief.
05:24 And here I will just, since I will enhance the mobile eyelid significantly,
05:30 I will add light and enhance it.
05:34 Naturally, since the eyes are harmoniously seated, I must also enhance the glare on the mobile eyelid,
05:40 so that they do not get deeply seated.
05:42 You can lead from the screen, you need to decide whether you need to hear or see.
05:47 And then I will put it where it is convenient.
05:50 I put the palette on the middle zone. Remember, we talked about this, right?
05:54 And she has no depth of the inner corner here.
05:58 Just here, you can add a little.
06:01 The palette on the middle zone.
06:06 Again, with the beating movements.
06:11 First, we stick the shadow, then we blend it.
06:17 It may seem that I applied the palette all over the eyelid.
06:22 In fact, no, I just blended it long enough to gently introduce darker shades.
06:28 You see, right?
06:30 And a strong enough palette we must apply under the eyebrows.
06:35 The eyebrows are so beautiful, but here, in this case, the arch is slightly shifted relative to the highest point.
06:42 We will correct this with the eyebrow makeup.
06:47 Still, the lower arch should be close enough to the highest point.
06:55 It can shift a little, depending on what we do, but not go much further or much closer.
07:03 Do you understand what I'm talking about now?
07:06 And I add a lot of glare.
07:12 There will be no light at the end, it will cover a little, but the light in this zone will be brighter.
07:19 You see, as I did yesterday to show the eyelid better, I applied a lot of glare to the moving eyelid,
07:26 but at the same time I blended almost to the end the next color so that it was not too clearly white.
07:32 Remember, right? The same here.
07:41 Blending.
07:43 And the second eye in the same way.
07:46 I apply the glare to the middle.
07:51 Blending to the corners.
08:03 Is this the third palette?
08:04 No, the first and the second.
08:07 This is a rarity.
08:09 Yes, a rarity.
08:11 You see, to show you everything well, a rarity.
08:14 Now it does not go to the first, right?
08:17 No.
08:18 It is now one of the two.
08:20 One of the two, and there are completely different colors.
08:22 Different colors, different textures.
08:24 Then on processing, look.
08:27 There are three textures here.
08:29 The first color is matte, the second and the fourth are satin.
08:39 I wonder why they removed it.
08:45 I am in a confusion.
08:49 Why they removed it, because in my opinion it is very cool.
08:56 Here, it turned out to be a mistake.
08:59 The next color is light.
09:06 And we apply it to the inner third.
09:11 Look how the relief immediately began to play.
09:15 You see, I just applied a little more.
09:18 Look what happened.
09:20 It has not yet dried, but it looks a little square.
09:24 If we do not finish the work, then we will not see the angle.
09:29 We must understand that when we work, we work with relief.
09:37 And on the outer third.
09:48 And also under the satin.
09:55 Satin deep enough, almost completely the brick is closed.
10:09 But it does not really hide, it is transparent.
10:13 But it is soft, there is no obvious pale color.
10:19 Next, we turn the brush.
10:24 Remember I told you that I will show you how to lengthen?
10:27 There is one movement that will immediately build up the form.
10:31 How do you build this elongating, stuck form?
10:35 You put it on, put it on, put it on again, put it away, while it is still.
10:41 Someone puts it on, someone puts it on.
10:45 It's quite time-consuming.
10:49 In fact, it is built up in one movement.
10:53 For this, I do it with flat brushes.
10:58 The brush becomes a plane in the orbital line, parallel to it.
11:05 Here is the orbital line, here is the plane of the brush, and parallel to it is the orbital line.
11:11 I'm going to draw the edge along the orbital.
11:16 But the movement is not a plane up, as the pen goes.
11:22 But diagonally, as the continuation of the eyelashes.
11:28 Now it is not very visible, but you can see that a corner has appeared here.
11:34 Already shaded.
11:38 Again, the brush becomes a plane in the orbital line, and moves as the continuation of the eyelashes.
11:47 Further, in shorter movements, I finish this form.
11:53 You see, here it is.
11:57 This triangle is soft, built in the right direction.
12:01 Remember, I said yesterday that the elongation should go as the continuation of the eyelashes with the eyes closed.
12:07 It looks at the highest point of the eyelashes.
12:12 You see, right? One-to-one, everything is immediately folded.
12:17 Further, the second row I can soften more, already in the same movements, without violating the form.
12:24 Even softer. On the brush, less pigment, and, accordingly, it is more precisely shaded.
12:29 And at the end, along the fold, bring to the end.
12:34 Since we will close our eyes, we will intensively, to the end, with shading on the side surface.
12:42 Do you understand? Now look.
12:47 Immediately the form.
12:49 It is necessary to soften, took the previous brush, if not soft enough.
12:53 And a little more, a little more, the border was shaded with very soft touches, not to apply, but to soften.
13:04 Please.
13:06 You see, in the right direction, the elongation, everything is fine.
13:12 Immediately, in a different way, began to elongate.
13:14 The space opened.
13:17 And this part is straightened.
13:19 This one movement, building, saves a lot of time.
13:23 If you take it into account.
13:25 Now the same color on the lower eyelid.
13:28 We continue from the same point, continue down.
13:33 In the same way.
13:35 - This is the light, while you ... - Light, light, light.
13:42 I create a background.
13:45 And plan to shade, to work out the outer corner, where the crease.
13:49 To avoid the shading from breaking.
13:51 And to fail.
13:53 Please, the well-groomed eye.
13:55 A little bit there, it will fail.
13:57 - Water, just a little bit of water.
14:00 - This is already a dark shade, we do with an accent, raise.
14:03 Remember?
14:05 Yes?
14:07 That is, I will then, with a darker shade, raise the eye.
14:10 Now with light, I still can't do it.
14:12 He is not able to do it.
14:15 Do you understand? Yes?
14:17 Do not waste time on what is useless.
14:20 The second eye, exactly the same way.
14:25 Again, on the inner third.
14:28 Shade of light.
14:30 On the outer third.
14:40 Shade to the middle, almost shading the face.
14:43 But it is the shading, so it does not disappear.
14:46 Just softens.
14:48 And due to this, in fact, the transitions are softer.
14:51 If they are longer, they are softer.
14:54 Then again, I turn the brush.
14:59 The same thing, I put it in parallel.
15:02 I do not do it, I do not do it.
15:05 Then again, I turn the brush.
15:08 The same thing, I put it in parallel on the orbital plane.
15:11 But I move it as the eyelashes go.
15:13 That is, the brush goes diagonally.
15:15 See? Accordingly, it comes diagonally.
15:18 Therefore, it does not make a round spot, but a sharp one.
15:22 Do you understand the meaning?
15:24 Girls!
15:26 Silence!
15:28 Such silence. Wake up!
15:30 Apparently you can not sleep a lot.
15:34 Who said that you can not sleep?
15:36 No, a little.
15:38 Why?
15:40 We build up the form.
15:42 We shade the remains.
15:44 And we shade along the fold.
15:51 Again, with this movement, which at the same time shades up.
15:56 Remember, yes?
15:58 As I told you yesterday.
16:00 And we shade on the side zone.
16:06 Let's see.
16:14 Now a little in the middle zone.
16:18 Close.
16:20 A little bit more.
16:22 With a light shade, you can either in the opposite direction.
16:27 Or, depending on what you need to do.
16:30 If you need to reduce it in the opposite direction, if you need to just soften it, then shade it.
16:35 Yes?
16:37 And on the lower eyelid we continue.
16:44 Working out the crease.
16:46 So that the shading does not break.
16:49 And to the end.
16:51 While I do not try to fix anything with this shade.
17:00 I create the initial form.
17:03 And the background.
17:05 That's all.
17:07 No more.
17:09 The next shade is a half-shadow.
17:13 It is already darker.
17:15 And we begin to create some initial changes.
17:21 I looked at the proportions.
17:24 I realized that nothing should be moved.
17:27 And I will work with this.
17:30 Close again.
17:32 Half-shadow on the inner corner.
17:36 Even shorter than the previous shade.
17:42 See what a beautiful relief is drawn.
17:47 On the outer corner.
17:50 Again, we gently shade the previous shade.
18:03 If necessary, you can take a brush with the previous shade and soften all these boundaries a little more.
18:11 Then I turn the brush again.
18:15 By the same principle.
18:17 Since there is a plane, I can put the brush as it should be.
18:22 I put the brush parallel to the eyelid.
18:25 I move it to the side of the eyelash extension.
18:29 Now this corner is more visible.
18:31 See, it immediately stood out.
18:34 There is no need to rub anything.
18:37 I finish this shape.
18:40 So that the upper border was uniform.
18:44 Can you see?
18:46 Since there is still a lot of pigment here, I turned it over.
18:50 I add a little more.
18:53 And we remember that the half-shadow does not go too high.
18:59 Remember?
19:01 No need to add the relief of the motionless eyelid.
19:04 See how it started to inflate.
19:06 Further along the fold.
19:09 I finish this color.
19:12 And again to the end.
19:15 I need to create a deeper relief here.
19:20 - It is the depth that creates a greater relief.
19:25 - Yes.
19:27 I give the depth that will create a greater relief.
19:30 Do you understand?
19:35 And with the previous color, we can soften it even more.
19:40 To create a soft relief.
19:52 So that there are no corners.
19:55 If we did not finish somewhere, I will explain again.
19:59 Imagine, my finger is a cylinder.
20:04 It is soft.
20:06 And the light and shadow are evenly distributed.
20:10 If I do not finish, it turns out that I pinch.
20:14 A shorter transition gives the effect of pinching.
20:19 The same thing forever.
20:21 To avoid the effect of pinching, we make a very uniform transition.
20:25 Now you can add a little brightness.
20:33 And with a shorter movement, again, to tint.
20:37 Inside the spot.
20:39 If you need to soften even more,
20:45 we can use a lighter shade.
20:47 Just through the whole blending, with long movements.
20:50 Evenly.
20:52 All this is still to be tinted and combined.
20:55 Since it is impossible to have more light,
20:58 I will show how it inflated.
21:01 In this area.
21:03 And I work out the fold a little darker.
21:08 To start giving depth.
21:13 Here the relief went.
21:22 A lighter shade.
21:30 - Did it show up? - Between you.
21:33 - I see.
21:35 And with my clothes, what to do?
21:38 I put the same color on the lower lid.
21:48 We continue.
21:51 Again, I make sure that nothing breaks at the outer corner.
21:58 Two-thirds.
22:01 And with a light shade, I create a more uniform line.
22:23 There is a little bit of a dark shadow.
22:28 Natural.
22:31 And at the end, it still pulls down.
22:34 The corner went up, but the shadow pulls down.
22:38 To show you that this is nothing terrible,
22:41 I'll take a quick one.
22:44 So that you do not bother.
22:46 Usually, this is done at the end.
22:49 I'll just light up this shadow with a corrector.
22:54 And that's it.
22:58 The whole effect is gone.
23:00 It all goes very quickly.
23:03 So you don't even need to think about it.
23:06 Now we soften the transition.
23:15 That eye went higher than this one.
23:18 Redirected.
23:21 We do the same with the second eye.
23:24 Again, on the inner corner.
23:42 Enough to give a relief.
23:45 Only within the fixed age.
23:48 And notice that I applied to the fixed age.
23:53 Nothing happened to the eye.
23:56 Only the relief from the fixed age has changed.
23:59 He did not move anywhere.
24:02 On this side, the eye has already begun to move.
24:05 Because along the orbital line,
24:08 the shadow reached the nose and connected.
24:11 Do you understand this difference?
24:14 Remember I said that from the fact that we illuminate something
24:17 in the fixed age, the inner corner,
24:20 nothing moves anywhere.
24:23 Only the relief changes.
24:26 Remember, right?
24:29 Now, please, I will show you real proof.
24:37 I soften the transition.
24:40 I will work a little more with the brush with the previous color.
24:45 See, I don't get the pigment to the brush,
24:48 but the pigment is enough.
24:51 The same thing.
24:54 On the outer corner.
24:59 I soften the transition.
25:02 I soften the transition.
25:15 I will extend the brush.
25:23 The same thing.
25:26 The same thing.
25:29 And we finish the shape.
25:32 The first movement is longer,
25:35 which builds up the shape.
25:38 And then we just connect in one line.
25:41 Then this shape appears.
25:44 Then we can continue to finish the shape.
25:53 You don't wake up.
25:56 We listen carefully.
25:59 And with the choir.
26:02 Now it feels like I beat you yesterday
26:09 so that you don't listen to me.
26:12 We are absorbing.
26:20 Good.
26:23 See, I'm quite intensively on the side surface.
26:26 To give depth.
26:29 Now, as if the second row,
26:32 I begin to soften this whole shading.
26:35 On the brush, the pigment is less.
26:47 I'll fix it later.
26:50 Don't worry.
26:53 The mustache is a little stronger.
26:56 By the way, when I worked on the filming,
26:59 we had to make a broken nose for one actor.
27:02 From his straight.
27:05 Two strokes, the nose breaks.
27:08 To make 34 strokes, not 2.
27:11 Unfortunately, it's like this.
27:14 You can smear, but you don't need to make the nose like this.
27:17 At the top, here, I grab the face,
27:20 at the bottom, on this side, I grab.
27:23 And the nose is sharply bent.
27:26 And it looks very natural.
27:29 To break a person's nose is just ...
27:32 You can, of course, break it even faster.
27:35 Just put it on.
27:38 Now, so that you are not confused,
27:41 I make a slight bend.
27:44 And it is corrected by the principle of nose correction.
27:47 It happens, you get carried away,
27:55 you swing somewhere, and then ...
27:58 Everyone is waiting.
28:01 Now the word will go.
28:04 All the possible master classes, the noses break.
28:07 And pay attention.
28:10 First, if I'm in the zone here,
28:13 I'm perpendicular to the blur,
28:16 I move the plane.
28:19 When I reach the inner ...
28:22 Oh.
28:25 And where is the beak?
28:28 Here.
28:31 What is it?
28:34 At the top.
28:37 Is that it?
28:40 No, it's just photographed.
28:43 Oh.