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  • Hi, I'm Colby, and I'm a New York City based celebrity makeup artist.

  • I would describe my style as creative, dimensional and sophisticated.

  • Hi, I'm later me and I'm a New York City based makeup artist.

  • My style is edgy, playful and colorful.

  • Hi, I'm John, and I'm a makeup artist.

  • I would describe my style as a little bit off centered, definitely experimental and tons of texture to my work.

  • You have one hour to create a look inspired by the following image.

  • Who?

  • The original face painter himself, Leonardo Vinci's Mona Lisa.

  • Your looks will be photographed in an editorial photo shoot.

  • Are you cold Bay?

  • I'm Aurora.

  • Nice to meet you.

  • You look great.

  • Think there's gonna be perfect for you?

  • But we have one hour.

  • Let's get started.

  • The first thing I love to do is obviously prep the canvas.

  • I like to put this give.

  • I'm gonna use my favorite moisturizer and really work into your skin.

  • If you kind of skipped this step or you just slap on the moisturizer, then a lot of times the makeup will look like it's sitting on the skin.

  • Right now I'm just using a moisturizer.

  • This one's great has a little tiger grass to it, and then this is how you win a model over.

  • Give her a nice face massage, and she'll be nice to you all day.

  • We are going to do very minimal skincare today because I am doing a very textured look, So I'm trying to get away with just using toner and a beauty oil.

  • I love to start makeup with the eyes like to place.

  • Look up a little eye mask under there so you get to prep the under eye, but then also have a shield.

  • When you start doing darker eye shadows, it doesn't fall below your eye for this look that's inspired by the Mona Lisa.

  • I'm going to take a really organic and kind of abstract approach to it.

  • I'm looking at the image of the Mona Lisa, and I'm seeing what tones and colors come through that, and then I'm recreating that on Aurora's face.

  • With a little bit of artistic license, you don't necessarily think of makeup when you see Mona Lisa.

  • It's not really wearing any makeup, but she hasn't beautifully like sculpted, chiseled face that obviously the depth and dimension was there.

  • So I'm gonna kind of recreate the depth and dimension via eye shadow.

  • The whole idea behind my look was that there's a bunch of, like, conspiracy theories with regards to the Mona Lisa.

  • Wishy royalty.

  • Was she the wife of a silk merchant?

  • Was it a self portrait of DaVinci?

  • So I want every texture to symbolize every conspiracy theory ever.

  • The next up that I'm going to do is adul your primer before I add the grease paint.

  • So I don't want to put the paint directly onto roars skin because sometimes the pink and red pigments will leave a stain.

  • This is definitely a heavy makeup application.

  • I do a lot of face and body pain because we only have an hour.

  • I'm not too concerned with proper blending.

  • I like to start with the I.

  • Usually I like to just get all the dirty work done first and then go in and perfect the skin.

  • I'm going to start by using the lightest color and kind of going on the highlights of the face for this look that I'm doing.

  • I'm really just taking a sort of creative approach.

  • I'm not being too specific.

  • I just kind of want to get the makeup on the face.

  • So obviously this is not her skin tone, but I really wanna light in her features because it provides maximum contrast for when I do my contour.

  • If you notice the Mona Lisa, she has a very heavily contoured face.

  • DaVinci might have been the original King of Contour, not makeup by Mario.

  • I'm covering the browse with foundation.

  • I want to block out the boroughs because Mona Lisa didn't really have rose to begin with.

  • So Mona Lisa has no browse.

  • She's famous for that.

  • And I think for or a I'm gonna just blend out the browse pain Teoh, erase them, Islam.

  • They were really starting to sculpt out the eyeball itself.

  • I'm actually using a male contouring technique which makes the face more angular.

  • They can't worried about side.

  • Are you guys worried about time?

  • I mean, normally with these under eye masks, I would do this in a face mask and levy for 10 minutes.

  • But since we only have an hour, we got a multi task someone green to pop a little bit more.

  • So I'm gonna take a brighter one and just kind of mix it on.

  • And with that smoky all of the time we have, you are so pretty.

  • Thanks.

  • My makeup e think that a lot of times people take makeup really seriously and I think that it can be more whimsical.

  • It should be fun onto the fun stuff.

  • Now let's create some texture.

  • So we have 30 minutes left and I'm feeling great on time.

  • I will use these three tools, so we have a steel spatula, browse spoolie and a fan brush.

  • So the reason why I'm alternating the cream and the clay is so that we can see them in various stages of drying which will create a point of interest in the final photo where I'm putting the clay is just where my heart tells me to.

  • This is gonna be the highlight for the look.

  • Obviously, in the photo, everything was Matt.

  • So I don't think they used glitter back then when they were painting.

  • But I mean, he is a little bit of a shimmer just to kind of pop the islet a little bit more, making a little bit more modern.

  • I'm repeating what we did on the top renowned the underneath, some using those connecting colors is blending colors people in best friend colors.

  • When you want a transition into something, a best friend of color you call it is like your transition in a painting, there's usually one light source.

  • So for Aurora, I'm thinking, if the light is coming this way, then we're gonna create shadows on the side and a little bit more light on that side.

  • So far, I'm loving these colors and how it's coming together.

  • When I do concealer, I like to place it where you need it.

  • So right here on the inner corners, where most people have the little discoloration if you kind of bring this part forward, this part around the eye is usually a normal skin color, so you might not need to conceal that at all, because it might be the exact color you needed to be.

  • So we're gonna play with light, dark and depth.

  • So if I take a lighter color on the inner corner, it's gonna kind of pop that forward to make it look like a nice smooth.

  • The way I learned how to do this was when you're was watching Gilmore Girls and they were doing festival of living art, where the townspeople were the actual models in recreating old paintings the way that they put the makeup on their face.

  • Waas to make it look like it was a flat image.

  • This is just a teal eye shadow.

  • I make a habit of photographing all of the concepts through my phone because the camera picks up different colors than what our eyes could see.

  • After I saw it on my camera, I saw really the tales pop out.

  • There were some sepia tones, a lot of reds, especially in the river that runs through in the landscape when it comes to skin for me, I like very little.

  • And then I'll go in and, you know, focus on key areas.

  • If you need a little bit more coverage, I like to do skin last Eyes don't really move once they're on, but skin does.

  • So I know that time is running out a little bit.

  • So now I'm going to start to make sure that none of Aurora's skin is showing through, or if it is, it's intentional.

  • So one of the things I like to dio when I'm doing a makeup is take a picture with my phone to see how it's reading on the flat screen and I can see Okay, I want a little bit more brightness up there.

  • I want this under I to not be so dark.

  • I want toe highlight the lip a little bit more as if the light sources shining on it.

  • And I also want a light enough that side of her neck.

  • Okay, we have 15 minutes left.

  • I'm gonna move on to the headpiece.

  • Oh, she knows a little.

  • So for the headpiece, I have three pieces that I'm gonna be adding on.

  • So the 1st 1 I'm gonna add is this wire for mesh.

  • I kind of want to mimic the curly hair that she had, and she had, like, a very translucent veil.

  • So this is a to for the next one I'm gonna add onto the headpiece is this piece of application.

  • I will be going them down with a prosthetic glue.

  • I'm gonna sculpt the face now just to give a little bit of shape.

  • So if a celebrity came to me and the palette was in the same world, this would be a very red carpet ready type of using the palette of the Mona Lisa, and I place blush like a little further back just to kind of deep in that contours.

  • If the lights coming from the center.

  • I'm really using inspiration from the Mona Lisa a year from the color palette that Divinci used.

  • So it's a lot of neutrals and tone ALS, but there's a really big impact behind it.

  • Take a bit of the blush and kind of place it right and under I just to warm it up and give you that kind of all over tonal idea.

  • So see, that's kind of bringing the cheek back up into the I.

  • My favorite part about doing makeup is obviously the artistic aspect.

  • I love to color a draw for them, also making someone feel great and expensive.

  • Then you know you've done your job right.

  • We're not our last five minutes, so I'm just gonna put the headpiece very quickly because our glue has right down.

  • So the last thing I'm gonna do is curl her lashes and do some chunky mascara.

  • Let's give her some life with him.

  • A little mascara, five minutes, baby clip.

  • I'm gonna go very natural nude browse, brush see where we're at.

  • Oh yeah, I love the green.

  • That's what shapes Wow.

  • Eyes on Colby's work are so beautiful, like there's so much death.

  • I mean, for my inspiration.

  • I hold like the Pantone color Palin herself.

  • So gave me those.

  • Like all of greens, like yellows, the gold's those like kind of tobacco colors.

  • Colby.

  • I wanna know your skin tricks.

  • No skin, no need for heavy foundation.

  • She had a beautiful skin, so I just I'm She's wearing the content all over, which is yes, she's feeling herself there like I'm ready.

  • Job done.

  • It's really wild.

  • How different her face shape looks in each photo that is so true.

  • Like Jeremy's.

  • I feel emotional looking at your work.

  • Thank you.

  • This'd image.

  • We chose it because there was, like, a sort of, like sadness or something, like a motive behind it, which I feel like it's captured a lot in Tain teens, and it doesn't always happen in a photograph for it in a different way in a photograph.

  • Eye contact is important, right?

  • Yes, and I like how you did like the darker tones on the side where she is exposed to the camera Yeah, I love that.

  • We all chose the same like his shoulder.

  • What did you use to apply paint onto the face?

  • I used a spoolie, a suspect, a spatula.

  • I call it a ritual, a brush and the You know what the Mac fan brush looked Really anyone.

  • You I love the colors that she chose.

  • Like that deal is so pretty.

  • The model's face really help because she had an angular face, which is usually what we love in body art.

  • It worked out and you bronze the nose to nose tip.

  • Yeah, gold.

  • That looks so cool.

  • What you did with her eyes were just huge.

  • It looks insane.

  • I love so much, so beautiful.

  • It's so cool to see each person's brain.

  • I think the one thing I want people take away from our looks is three different styles of makeup.

  • We dio you do body painting.

  • You do so much artistic drawing on a person, and then I do so much like just real people make up on.

Hi, I'm Colby, and I'm a New York City based celebrity makeup artist.

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3人のプロが対決、「モナリザ」をテーマにした芸術メイク。| Triple Take | VOGUE JAPAN (3人のプロが対決、「モナリザ」をテーマにした芸術メイク。| Triple Take | VOGUE JAPAN)

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    林宜悉 に公開 2021 年 01 月 14 日
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