The Make-up Stylist s Reference Statement of Attainment Hair & Make-up Stylist

The Make-up Stylist s Reference Statement of Attainment Hair & Make-up Stylist Student name: Class group: Facilitator/s: Product code 5617

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 Statement of Attainment Hair & Make-up Stylist. The Make-up Stylist s Reference. Page 3 of 44.

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 Statement of Attainment Hair & Make-up Stylist. The Make-up Stylist s Reference. Page 4 of 44.

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. Statement of Attainment Hair & Make-up Stylist. The Make-up Stylist s Reference. Page 5 of 44.

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. Skin care products Foundation in a range of colours and formulations SA M Blush, eyeshadow & lipsticks Make-up brushes and brush roll PL E Lip and eye liners Stuart Miles/FreeDigital Photos.net Mascara & false lashes Kittikun Atsawintarangkul/FreeDigital Photos.net Latex sponges Copyright (c) <a href='http://www.123rf.com'>123rf Stock Photos</a> Copyright (c) <a href='http://www.123rf.com'>123rf Stock Photos</a> Copyright (c) <a href='http://www.123rf.com'>123rf Stock Photos</a> Seek further information through independent research and discussion with your class facilitator. Statement of Attainment Hair & Make-up Stylist. The Make-up Stylist s Reference. Page 8 of 44.

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 Dry Skin: lacks oil, has little shine and texture is fine, thin and delicate. Pores are invisible and is prone to premature aging Oily skin: has excess oil, visible shine and may have blemishes and comedones. Texture is thick with enlarged pores, particularly on t-zone 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: 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. Sensitivity: This is delicate or allergy prone skin which often reacts to specific ingredients in products and can appear as redness, itching, burning and pustules. Couperose 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. Aging: This is the accentuation of lines and wrinkles due to loss of elasticity. Skin lacks firmness and has a sagging appearance.) Tip: use fragrance free products formulated for sensitive skin and patch test products before use. Acne: 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. Tip: use a tightening serum and a primer with luminosity (light reflecting properties). Pigmentation: This is uneven distribution of melanin over the surface of the skin. Tip: Apply sunscreen if working in an outdoor location. Statement of Attainment Hair & Make-up Stylist. The Make-up Stylist s Reference. Page 9 of 44.

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. Statement of Attainment Hair & Make-up Stylist. The Make-up Stylist s Reference. Page 10 of 44.

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. Copyright (c) <a href='http://www.123rf.com'>123rf Stock Photos</a> Statement of Attainment Hair & Make-up Stylist. The Make-up Stylist s Reference. Page 11 of 44.

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). Statement of Attainment Hair & Make-up Stylist. The Make-up Stylist s Reference. Page 12 of 44.

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 redirecting 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. Statement of Attainment Hair & Make-up Stylist. The Make-up Stylist s Reference. Page 13 of 44.