Loading...
The Wingham Advance-Times, 1984-02-29, Page 16Page 4—Crossroads—Feb. 29, 1984 ®seo� THE SUPER BEAUTIES Tricks of the makeup trade By Colette Bouchez Although the clothes we wear and the way we style our hair are both important parts of our overall image, it is the way we make up our faces that often makes the biggest contribution to the way we look. Cosmetics and their proper application can truly create an image, and in this third and final part of "The Image Makers", one of hollywood's best makeup artists reveals the tricks of his trade! With clients that literally run the celebrity alphabet, from Loni Anderson to Veronica Hamel, from Catherine Bach to Sophia Loren to Racquel Welch, Brian Hamilton has painted the faces of the beautiful as well as the not -so -beautiful, and has brought them all as close to perfection as man's handiwork can allow. But what about those of us who don't have Brian's expertise at (or in) our fingertips; can we too achieve that same perfec- tion? "Absolutely," says Brian. "If a woman knows some- thing about proper applica- tion and the kinds of pro- ducts that are right for her, she can create a wondrous image for herself. It's all in knowing what's right for you." To help test your "Cosmetic IQ", take this irrtpLe.quiz Check your an- swers with Brian's, and be- fore you know it, you'll have all the tricks to look like a star! • ® Health and Welfare Sante et Bien -etre social Canada Canada Canada The following story is from The Hole in the Fence. a Canadian children's story- book about the adventures of Vegetable characters. These stories are not mere- lychildren's' entertainment. Instead. (hey are contem- porary fables for parents and children to talk about 'ogether. No. 11 Potato falls in the mud "Why it is Potato," Tomato squeals. ANSWER TRUE OR FALSE 1. The older a woman gets, the less makeup she should wear. 2. Women over -age-.50 should never use foundation. 3. Dry skin should never be powdered. 4. Always match your eye shadow to the color of your eyes. 5. The lighter your hair 'color the less makeup you should wear. 6. For evening, always ap- ply more makeup and more ' color. 7. For .best results, always. match your mascara to your eye color. , 8. To emphsize your mouth, always line your lips with a dark pencil. 9. For a truly professional look, always blend your makeup colors. 10: If you're in a rush it's OK to apply new makeup on top of old to freshen the look. ANSWERS TO QUIZ 1. True and false! "The older a woman gets," says Brian,"the more accurate • her makeup should be. But that doesn't necessarily mean less. However, older women should avoid wearing any frosted or iridescent products because' tVtey at- tract attention and empha- ' size and if there are wrinkles and lines, they will point them out. They should also avoid bright colors and stick to more matted, dramatic shades." 2. False: "Foundations are excellent for the face," claims Brian. "They moisturize and protect it from the elements. They also • keep the face moist all day long. Powder should be used over foundation to diffuse wrinkles and lines, but pow- der alone is too dry.and gives a cakey look especially to older skin." 3. False: "When using a base, always powder. Even with dry skin," says Brian, "the look will be too shiny and greasy without powder. If you're under stress, you will secrete more oil and the one way to keep your make- up fresh is by using powder." 4. False: "Most of the time," says Brian, "another color will accentuate your eyes better. Polly Bergen has the most stunning blue eyes and they look even bluer when a brown shadow is used. Eye shadows should blend more with your skin tones than with the color of your eyes or 'the outfit you are wearing." BRIAN HAMILTON AND VERONICA HAMEL Facemaker to the stars and the star of 'Hill Street Blues' QIOAH wna,vs s8111 VNIn 8 0 ,SUCA • PARTIAL SILHOUETTE—In this picture of a commercial fisherman waiting to load nets on a trawler, some detail was retained by firing a small strobe light against the back of the fisherman and against the pallet of nets. 5, True: "The lighter the hair," advises ;Brian, a,'the more emphasis there is on the face, so you must be careful about applying too much color. When dark hair frames the face, you can be more dramatic, but with light hair, the, more makeup you use, the 'harder' you can look." 6. Truer "At night you should always wear 50 to' 60 per cent more makeup than you do in thedaytime," says Brian. "The lighting is dif- ferent at night which washes out a lot of color, plus even- ing clothes lend themselves to more dramatic ap- proaches to the•face." 7. False: Says Brian, "Mascara is the • finishing touch that frames the eyes and it should always be used. However, there' is only a slight difference in shades and black always looks the best.. Personally, I always felt that green or purple or blue lashes isa cheap look that never comes off as beautiful." 8. False: "Misuse of lip. liners," says Brian, "is the single biggest makeup mis- take that women can make. Nothing looks more hideous than a dark pencil lining, the lips while a Light color or just a gloss is used on the inside. If you are to line your lips, choose a color close to your natural lip color or to the shade of lipstick you'll be filling in the center with." 9.'True: "The only way to get a truly professional look with your makeup is to blend it," says Brian. "Not doing so, especially with eye shadows, is a big mistake. You can't just apply a blob of color and leave it there. It looks awful, especially on your, lids. You've got to blend the colors and soften them for a look that seems just naturally pretty and not ob- vious. 10. False: "The worst, ab- solute worst thing you can do," says Brian, "is apply makeup on top of makeup. You can always tell when makeup is added to, es- pecially around the eyes, and it looks awful. Never, ever sleep in makeup", he cau- tions, "and always put it on a clean face. If you don't, your makeup will never look pro-, fessional; it won't even look OK." At Rochester, N.Y., George Eastman manufac- tured the first commercial motion -picture film March 26, 1885. gIugh ".1 Lens Handy helpers By Holt Confer The manufacturers of film and photographic equipment are really interested in how' you use•their products. Use them badly, and • chances are you won't use them again — or you'll use their products less than. they'd like you to. But use their products successfully, and it's very likely you'll be an avid consumer . . . not only buying their . products, but talking about how much you like them to all your friends. So with this simple mar- keting' concept foremost in mind, just about all the major photographs com- panies employ writers and photographers to use their products and write articles or books about their exper- iences. A trip through the "li- brary" section of any well- equipped photo store will ex- pose you to all sorts of useful and often worthwhile litera- ture. Many of those bro- chures and pamphlets will be handouts—and _while these freebies appear to be touting a specific camera, film or lens, I'd recommend you take a few moments to read THE ORIGINAL WORD MAZE PUZZLE {VMS 07 THIE aDDY ALL WORDS TO BE CONSTRUCTED PERTAIN TO THE ABOVE TOPIC. TO YOUR ADVANTAGE ONE WORD HAS ALREADY BEEN TRACED. YOU MUST TRACE THE THREE REMAINING WORDS, USING ONLY THE LETTERS DESIGNATED BY THE. DARKENED CIRCLES. WORDS MAY BEGIN AND END FROM EITHER COLUMN BUT EACH LETTER CAN ONLY BE USED ONCE. EACH PUZZLE HAS A DIFFICULTY RATING (ABOVE). FOUR STARS SIGNIFY THE HIGHEST DEGREE OF DIFFICULTY. GIVEN BELOW APE THE POINT VALUES FOR EACH WORD. YOUR WORDS MUST CORRECTLY MATCH THESE POINT VALUES. RIBS 1984 Ryan Game Company at just what the manufacturer has to say about how the pro- duct» should or shouldn't be used. In describing a product's utility, it's inevitable that one or more examples will appear. Study those exam- ples. What kind of light was used? Which direction did the light come from? Could there have been more than one, light source? How' about camera angle — where did the photographer stand? What 'was the model doing? How was 'The* picture framed? Where was the cen. ter of interest positioned in the photograph'? . Studying manufacturer's examples with these kinds -of questions in your mind is an excellent way to do a bit of self -education. There are lots of folks who would like to know more about picture taking but because of too lit- tle time, too little money or the lack of a competent in- structor, just never get be- yond the basic lessons taught in the equipment owner's manual or packaged with the film. By the way . . . you did 5 9� 6 10 TM W 9 ?160 read your owner's manual didn't you'? And you did read the information packaged with your film, I suppose? Shame on you, if you didn't, because they, too, will often give you some little bit of as- sistance that you might have overlooked. Don't be afraid or ashamed to take all the pic- ture taking help you can get. The pros use reference books all the time ... after'all,'the judgment factor is not how much mnis .e'ilaneous data you have inyour head, but how good the pictures are. And if you have to look up facts or figures, or any of a hundred different things that might go into a professional - looking photograph — it's perfectly all right. I have three reference books on my desk right now, and the thing that makes them interesting is that they are all the "pocket" variety. They will fit easily into a shirt or jacket pocket or, bet- ter yet, find a permanent home in yo't1'r gadget bag so they are handy whenever you need them.) The first is the "Kodak Pocket 'Guide to 35 mm Photography". The .publica- -,.lion b.egins by covering camera basics such as the • operating controls, a user's checklist and types of film you should try under a vari- ety of photographic situa- tions. From there, this pocket guide goes on to give the reader page after page of useful examples of everyday picture -taking situations (mostly in color). "John Hedgecoe's Pocket Guide to Practical Photog- raphy" follows pretty much the same format as the Kodak book. This reference work gets just a bit more technical in that it has a question and answer section as well as 10 or more pages covering film speeds, filter factors and light conversion tables, along with a glossary of terms that might help the neophyte photographer over a rough spot or two. And finally, .there's "The Professional Photographer's Handbook", edited by Larry Logan. No picture examples here, just 100 -plus pages of hard-core 'technical data presented in an easy-to-use fashion. While it wouldn't hurt any photographer to review both the Kodak and the Hedgecoe books — since ies always possible to pick up a picture - taking idea that might come in handy — the advanced amateur and the pro will find the "Professional Photog- rapher's Handbook" ex- tremely valuable. I carry one with me all the time and it's helped me out of difficult situations on more than one occasion. Being a professional photographer doesn't always mean you know the answer to a problem. But you should have some idea where to find the answer and now you fIo. Colour by code: 1= Brown 3= Purple e In today's story, the Vegetables learn how wl;ong,snap judgments car • be. `Quite some time has passed and Egg- plant has been banished to the edge of the Garden because he is purple. He has to live all by himself. No one even tries to be his, friend. Then one day a strange thing happens. Potato is running along to meet his friends, when suddenly he trips and falls into a huge muddy. puddle. "Now I'm all dirty," he sighs, as he pulls himself out of the puddle, covered with mud. What Potato doesn't know is that .the mud has turned him purple. "I can't stop now," he thinks. "I'm late already." He runs on and finally finds his friends. "Hi, guys," he says in a .friendly voice. Mr. Cauliflower is shocked and snarls: "If you know what's good for you, Egg- plant, you won't come to this part of the Garden." "I'm not Eggplant," says Potato, sur- prised. "I'm Potato." "Yeah, sure, Purple -Freak. You must think we're blind," taunts Carrot. "How dare you even speak to us," sniffs Tomato. "We don't want any of your kind here," bellows Cucumber. "So go away." "Yeah, get lost," adds Onion. Even Onion, Potato's best friend, doesn't recognize him. "But it's me, Potato," protests Potato. "Liar!" snarls , Cucumber, and . he throws -a huge bucket of waiter at him. What a surprise! All the mud washes off, and there stands Potato. "Why, it is Potato," Tomato squeals. "Oh, Potato, I'm so sorry," says Onion. "I didn't recognize you. You' really did look just like Eggplant." "I don't believe it," Mr. Cauliflower says: "That's not Potato. It's Eggplant playing a trick. Don't talk to him." "Oh, you're so silly, Mr. Cauliflower," says Tomato. "Come on, Potato. Let's go, everyone." The Hole in the Fence, a 132 -page col- our illustrated storybook•published by Health and Welfare Canada. was developed in cooperation with provincial alcohol drug commissions foundations. It is available for $4.50 through local bookstores or by send- ing a cheque money order payable to the Receiver General of Canada to: Canadian Government Publishing Centre, Hull, Quebec, K1A 0S9. A family guide to this preventive drug edu- cation and living skills program contains story resumes, colouring' pictures. home crafts and discussion ideas. It is available free, on request, from The Hole in the Fence, Box 8888, Ottawa. Ontario. 'K1G3J2. Egalement disponible en franiais sous le titre "Mes anis, more jardin". At two years old, Brian knows a lot about waiting. Right now, Brian is waiting for a kidney transplant. He needs a new kidney— Soon. With the help ofa lot of people, Brian is fighting kidney disease. He can't do it alone. For as little as a few hours of your time, you can be a life-saver. 'your help to raise money for kidney research and patient support programs can make the difference for a child like Brian. Call now to volunteer your time for the door-to-door Brian Appeal in March. Brian is waiting for you to make the difference. Call 1-800-268-6364 (In B. 112-800-268-6364) Op.#533 THE KIDNEY FOUNDATION OF CANADA I want to be a -lifesaver, Please call me about volunteer opportunities. Name Address City Prov Postal Code Telephone ( The Kidney Foundation of Canada Box 2670, Station "D" 340 Laurier Street West Ottawa, Ontario KiP 5W7 Charitable Registration #0224980-I 3-08 111!Ms onto wets toft OMB *--nits lei- etim Imo moo --eee4