Eyebrows shape correction for your face

Eyebrows determine the harmony and architecture of the face and are a valuable tool not only for basic make-up, but especially for corrective make-up. Many make-up artists prefer to define and outline well the shape of the eyebrows as the first step of the eye make-up, because the same length and shape of the eyebrows will be an excellent guide to achieve the shade of the eye. The eyebrows represent our character and our expressiveness, they play a very important and decisive role both for the success of a good beauty make-up and for a corrective make-up, giving elegance and prominence to the look. To enhance and modify the shape of the eyebrows we can intervene by removing hairs with depilation, epilation or waxing, by reconstruction, “filling” through the use of pencils and eye shadows and in some cases even redesigning the individual hairs with eye liner pen..

We must not forget that eyebrows that are too thin and too outlined can greatly harden the look and features.

It is not always necessary to intervene on the shape of the eyebrows because sometimes they can already be in harmony with the face, in these cases it is sufficient to remove only the possible superfluous hair that could compromise the cleanliness of the make-up (light spot in the lower proximity of the eyebrow arch).

In order to identify the right proportions of the eyebrow, it is necessary to position oneself well in front of the subject and draw, with the help of the thin handle of a brush, three guide lines that always start from point D, or rather from the external corner of the nostrils of the nose.

From an expressive point of view we can say that an eyebrow arch is harmonious if we divide it into two parts, the first part A-C is ascending and the second part C-B is descending..

The second line (D-C) always starts from the outer nostril of the nose and passes through the center of the eye touching the iris externally, its intersection with the eyebrow arch and with the external perpendicular of the eye will identify the point “C”. Point C coincides with the intersection of the two parts and determines the maximum height of the eyebrow.

The third line is the diagonal (D-B) which starts from the external nostril and reaches the external extremity of the eye, determining the point where the eyebrow must end. This diagonal, from a corrective point of view, also determines the inclination of the cheekbone on which we will develop the shape of our make-up.

DISTANCE OR RECONCILE

 

Face regular eyebrows very shaved in the center “EYES DIS

TANT”Regular face very thick eyebrows in the center”CLOSE EYES

If the A-points of both eyebrows move towards the center of the face we will have the illusion that the eyes are getting closer and the face is getting longer, vice versa by moving the A-points away from the center of the face, the eyes will get further apart and the face will get wider.

SLIMMING AND LENGTHENING THE FACE

                                     

Regular face with raised C point effect
“ELONGATED FACE”

 

In regular and young faces, we usually tend to raise the C point to give the face a more slender and elegant look and also to widen the space to make special games of shades and colors.

It is not recommended to raise the C point too much and also to make it too angled in case of triangular and long faces.

In addition to giving a sleeker effect, the C-spot can visually correct some facial imperfections.

For example, in wide, round, squared faces (A), where the jaws and cheeks occupy a larger space on the face than the eyes and eyebrows, bringing point C both upward and toward the center of the face (B) will produce a VERTICAL AND SLIM effect.

If you increase the volume of the entire arch of the eyebrows, the jaws and cheeks will be smaller.

Wide face with point C raised and close to the axis, point A is also close to the axis.
Point A is also close to the axis: “Long and wide face” effect.

SHORTEN FACE AND LONG NOSE

In long, triangular faces with an equally long nose, if we lower the C-point and move it outward, the close-set eyes will appear distant from each other. By “widening” and “shortening” the face and nose at the same time, we will thus balance a “too vertical” face with “horizontal” elements.

 

Long face and nose with point A and C distant from the axis of the face:
                                  “WIDE AND SHORT” effect

 

• In the figure “A” the point C mistakenly placed on top creates a prolongation of the nose accentuating the same length.
• Often, in order to give more and more space to the make-up and to have a sensation of uplifting eye effect, the final part of the eye is shaved too much (C-B) and this generates in long and triangular faces a further elongation of the face (C) exasperating its defects.
• In figure “D” you can see how the face is more harmonious if point C is lowered and brought outwards.

 

 

We have seen how by raising point C more than point A, in particularly round or wide faces, we obtain a more “slender and elongated” effect. However, we must be careful that if point C and point B are too high with respect to point A, we risk having an unpleasant and diabolical effect and a long and important nose could become even longer.

 

• long face and nose with point C raised and close to the central axis of the face, unpleasant effect “TOO LONG FACE”;
• long face and nose with point B and C too high compared to point A further close: unpleasant effect “DIABOLIC WITH FACE AND NOSE EVEN LONGER”;

• to correct and widen faces and particularly long noses, we can offset the diagonal D-B rotating it more horizontally, the point D will no longer be in corri- spondence of the external nostril but of the tip of the nose ;
• we will thus have a longer eyebrow with a C-B section becomes C-B1, the horizontal axis (B1-B1) will widen considerably developing all the eye make-up horizontally.

                        

Even if the face is regular,
raising the points B and C too much with respect
B and C in relation to point A we will have a widening of the face and a “DIABOLIC” expression.

 

 

If point C is lower or at the same height as point A
we will have a “sad and
MALINCONICAL”.

 

If, on the contrary, we incli- nate our D-B guideline vertically upwards, we will have the effect of a longer and slimmer face, this technique will be very suitable for particularly round, wide and squared faces.

In addition to the width, the length of the nose must also be checked to ensure that it is in harmony. To understand if the length of the nose is in proportion, we must verify that the line E-F (axis of the nose) is half of the line B-B (axis of the eyes), if not, we can offset the point D and consequently the point B to shorten or lengthen the nose compared to the face.

Always remember that the D-B axis will also be the directrix of the zygomatic bone light point.If the axis of the nose F-E is too long or too short compared to the axis of the eyes B-B, the diagonal D-B will be respectively too vertical or too horizontal and the point B (final part of the eyebrow) will change accordingly.

Point D, for example, can vary depending on the length or width of the nose. If the nose is particularly wide, there is a risk of over-shaving the A-point, thus creating an inevitable wide-eyed effect. To understand whether the width of the nose is proportional to the face, we must imagine that between the two eyes there is the visual space of a third eye.

 

It is very important that the nose is in harmony with the face, because if it is too wide, too long or too short it can influence us negatively.
The eyebrow arch, if drawn correctly, has the power to correct, but if drawn inappropriately, it can also aggravate and highlight in a negative way such disharmonies.