The Make-up Stylist’s Reference

Statement of Attainment – Hair & Make-up Stylist

Student name:

Class group:

Facilitator/s:

Product code 5617

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Table of contents

Acknowledgements .................................................................................................... 5

Course and resource developers ............................................................................................................. 5

Copyright notice ....................................................................................................................................... 5

Introduction ............................................................................................................... 6

Statement of Attainment – Hair & Make-up Stylist ................................................................................. 6

Statement of Attainment purpose ........................................................................................................... 6

The Make-up Stylist’s Reference ................................................................................. 6

How do I use this reference? ................................................................................................................... 6

Make-up units .......................................................................................................................................... 6

About the unit selection .......................................................................................................................... 7

Reference topics ......................................................................................................... 7

Customer care and safety for stylists ....................................................................................................... 7

The essential make-up stylist’s kit ........................................................................................................... 8

Key considerations for successful make-up design ................................................................................. 9

Skin Preparation ................................................................................................................................... 9

Skin Care Products ............................................................................................................................. 10

Adverse Effects................................................................................................................................... 11

Colour Design Principles .................................................................................................................... 12

Lighting ............................................................................................................................................... 14

Film Stock ........................................................................................................................................... 16

Wardrobe & Background ................................................................................................................... 16

The Make-up Stylist’s essential design components .................................................. 17

Corrective make-up techniques ............................................................................................................. 17

Face shapes ........................................................................................................................................ 17

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Feature Correction: ............................................................................................................................ 18

Designing a make-up plan ...................................................................................................................... 21

Techniques – support tips and tricks ................................................................................................. 22

The Make-up Stylist’s Reference – Putting it all together .......................................... 23

Look and learn – Make-over .................................................................................................................. 24

Look and learn – Mature Make-up ........................................................................................................ 28

Look and learn – Bridal Make-up ........................................................................................................... 32

Look and learn – Period Make-up .......................................................................................................... 36

Look and learn – High Fashion Make-up ................................................................................................ 40

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Acknowledgements

Course and resource developers

TAFE NSW and the Industry Skills Unit of the Training and Education Support Unit, Meadowbank would

like to acknowledge the contributions of the following people:

Julie Walker –Acting Educational Programs Manager;

Tania Cannon – Educational Content (The Make-up Stylist’s Reference & Portfolio);

Betty Chung – Signature design for resource covers;

Katie Tschaut & Penny Clements for make-up and hair – Bridal Make-up and Make-over Make-up

Sydney Academy of Hair, Beauty & Make-up (Meadowbank College) - 1940’s Period Make-up;

Claire Bigelow for hair, make-up & photography for Mature Make-up;

Penny Clements for Photographic Consultations and Photographic Plans.

Copyright notice

© TAFE NSW (Training and Education Support, Industry Skills Unit Meadowbank) 2012

Copyright of this material is reserved to TAFE NSW Training and Education Support, Industry

Skills Unit Meadowbank. Reproduction or transmittal in whole or in part, other than subject to

the provisions of the Copyright Act, is prohibited without the written authority of TAFE NSW.

Training and Education Support, Industry Skills Unit Meadowbank.

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The essential make-up stylist’s kit

Below is a list and picture reference of essentials that our experts recommend for your make-up kit:

Primers, concealers, colour correctors and powders to create a flawless canvas for make-up.

Camouflage make-up for covering burns, scars, tattoos and birthmarks etc.

Tools such as a blending palette lash curlers, brush cleaner, spatulas, hand sanitiser, make-up cape,

tweezers, hair clips, pencil sharpener, sharp (embroidery) scissors and a hand mirror.

Lip and eye liners

Make-up brushes and brush roll

Blush, eyeshadow & lipsticks

Stuart Miles/FreeDigital Photos.net

Skin care products

Kittikun Atsawintarangkul/FreeDigital Photos.net

Foundation

in a range of colours

and formulations

Copyright (c) <a href='http://www.123rf.com'>123RF

Stock Photos</a>

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Stock Photos</a>

Mascara & false lashes

Copyright (c) <a href='http://www.123rf.com'>123RF Stock Photos</a>

Latex sponges

Seek further information through independent research and discussion with your class facilitator.

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Key considerations for successful make-up design

Skin Preparation

Skin Type is determined by factors such as genetics, climate and hormones. The skin type cannot be

changed but must be diagnosed in order to select suitable products.

Normal skin:

has a good balance of oil and water, a soft, moist, dewy

appearance and a healthy glow and colour. Pores are visible but

not enlarged

Oily skin:

has excess oil, visible shine and may have blemishes and comedones.

Texture is thick with enlarged pores, particularly on t-zone

Dry Skin:

lacks oil, has little shine and texture is fine, thin and delicate.

Pores are invisible and is prone to premature aging

Combination skin:

a combination of the other 3 skin types; usually oily on nose, forehead and chin (t-zone) and normal/dry on

the rest of the face

Skin Conditions are concerns which affect the skin and should be considered when selecting products:

Dehydration: Couperose

This is a lack of water in the skin, which appears and feels dry, scaly and flaky. Dehydration can affect both dry and oily skin as it is caused from a lack of inner moisture as opposed to a lack of oil. Oily skin becomes dehydrated through the use of harsh soaps and astringents.

Tip: use preparation products which contain humectants and a make-up primer.

This is clusters of small, dilated, blood vessels on cheeks, nose and sometimes the chin. Couperose causes ‘flushing’ in response to increased body heat (exercise, hot climate, spicy foods, alcohol, etc).

Tip: use an occludent (try Clarins Beauty Flash!) to prepare skin before applying make-up primer and green based concealer.

Sensitivity: Aging:

This is delicate or allergy prone skin which often reacts to specific ingredients in products and can appear as redness, itching, burning and pustules.

Tip: use fragrance free products formulated for sensitive skin and patch test products before use.

This is the accentuation of lines and wrinkles due to loss of elasticity. Skin lacks firmness and has a sagging appearance.)

Tip: use a tightening serum and a primer with luminosity (light reflecting properties).

Acne: Pigmentation:

There are many forms of acne and the appropriate treatment varies greatly.

Tip: Acne should not be diagnosed or verbally identified or discussed with the client unless you have a Certificate IV in Beauty Therapy.

This is uneven distribution of melanin over the surface of the skin.

Tip: Apply sunscreen if working in an outdoor location.

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Skin Care Products

Skin must be prepared prior to the application of make-up to ensure an effective and lasting result. Skin

care products are usually emulsions - a combination of oil and water that is prevented from separating.

Oil-in-water emulsions (O/W) are water based or 'water washable' and suitable for normal, oily and combination skin types.

Water in oil emulsions (W/O) are oil based or 'oil washable' (difficult to remove with water) and suitable for dry and mature skins.

O/W skin care products suitable for all skin types are the most versatile for your make-up kit; however

products such as moisturiser and foundation should be selected according to skin type and condition.

Application

1. Wash hands prior to starting the make-up service.

2. Seat client in upright position so their face is at your eye level.

3. Use hair clips to secure client’s hair away from the face, ensuring you do not disturb the hair styling.

4. Protect client's clothing with a towel or cape over the chest.

5. Apply skin care products as follows:

Eye make-up remover: if there is a substantial amount of mascara, you may need to double

cleanse. Only use waterproof eye make-up remover when necessary as it has harsher chemicals.

Cleanser: apply in an upwards circular motion and remove with a damp fibrellas. If the client is

wearing make-up, a double cleanse is suggested.

Toner: a gentle non-astringent toner can be applied using cotton pads to remove any excess

cleansing product and rebalance the pH of the skin.

Eye cream: an O/W emulsion is preferable as an oil based cream may destabilise make-up.

Moisturiser: after applying, allow a few minutes for absorption before proceeding.

Primer: usually worn over moisturiser, primer allows a smooth, even application of foundation

and gives longevity to make-up. Some also minimise the appearance of fine lines and scarring.

Sunscreen: if the client is going to be outdoors whilst wearing the make-up, choose a moisturiser

or primer with a sunscreen appropriate to the amount of potential exposure.

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Adverse Effects

An adverse effect is an undesirable result that is caused by the service, such as an allergic reaction to a

product. Before applying false eyelashes, you must perform a patch test at least 24 hours prior to the

make-up application to determine if the client will have an adverse reaction to the adhesive (glue).

Seek further information through independent research and discussion with your facilitator.

Patch test procedure

1. Apply a small amount of the product to the skin behind the ear using a cotton bud. Alternatively,

apply on the inside of the client’s elbow.

2. Check the area after 10 minutes has elapsed for a result.

3. Leave the product in place for 24 hours. Instruct the client not to wash the area during this time.

4. After the 24 hours has elapsed, check the area again to determine the result. If there is a positive

result, the patch test will show irritation, redness or swelling in the area where the product was

applied. If this is the case, do not proceed with the treatment.

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Colour Design Principles

Colour is a key feature of a successful make up and is identified using a colour wheel:

There are three primary colours from which all colours originate red blue yellow

green orange violet Mixing equal proportions of primary colours form a secondary colour

Mixing equal proportions of a primary colour and its opposite secondary colour form a tertiary colour

Complementary colours are opposite each other on the colour wheel. When applied next to each other they will ‘compliment’ or bring one another out. However when applied on top of each other they

neutralize or cancel each other out (for example: green concealer will counteract red skin)

Cool colours are on the left side of the colour wheel and are the

colour of the ocean: cool yellow, green, blue and cool

violet

Warm colours are on the right side of the colour wheel. These are the colour of fire: warm yellow, orange, red and warm violet

Harmonies are colours next to each other on the colour wheel (for example red, red-orange, orange)

Monochromatic refers to a one colour scheme (for example light green, green, dark green)

Colour Identification

White light travels in waves and is made up of the 7 colours of the spectrum: red, yellow, orange, green,

blue, violet and indigo. These colours have different wave lengths, with red being the longest and violet

the shortest. The colour we see is the light that is reflected from an object. Some colours reflect all light

that falls on them and we see them as white. Some colours absorb all light that falls on them and we see

them as black. Warm colours reflect more light and cool colours absorb more light. Every colour has

three components:

1. Hue: the colour as the eye perceives it.

2. Chroma: the intensity, or brightness or dullness of the colour.

3. Value: the lightness or darkness, which is altered by adding white (tint), black (shade) or grey (tone).

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Rules of Colour

1. Colour can absorb (steal) other colour

When placed next to each other, darker, brighter colour will steal from lighter colour. For example,

bright blue beside pale blue will make the pale blue less colourful; thus blue eyes can be intensified

using a eyeshadow in a lighter blue than the eye colour.

2. Colour can reflect other colours

Some colours tend to reflect back more colour than they steal, for example a red scarf near a ruddy

complexion will make the face appear redder.

3. Colours advance or recede

Light, frosted, glossy colours bring forward, maximise and emphasise an area to make it appear

larger. Dark, matt colours push back, minimise or reduce an area to make it appear smaller. This

rule can be used to create an illusion, for example small lips appear larger if you use a light frosted

shade and/or gloss and large lips appear smaller if you use a matt, darker shade.

The technique of highlighting and shading is based on the principle of light and shadow and re-

directing the light which falls on the face to create an optical illusion. This is known as ‘contouring’

and can be used to alter the appearance of the face shape, nose, cheekbones, eyes, eyebrows and

lips.

Highlighting advances and emphasises (draws attention to) and is always lighter than skin tone.

The addition of shimmer, metallic, frost or gloss will increase the effect of highlighting.

Shading recedes and minimises (draws attention away from) and is always darker than skin

tone. Shader should be matt and not contain any shimmer etc. otherwise it will act like a

highlighter.

Seek further information through independent research and discussion with your facilitator.

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