Product Photography, Styling And Photographing Lip Colour Swatches | Nehha Deshmukh | Skillshare

Product Photography, Styling And Photographing Lip Colour Swatches

Nehha Deshmukh, Ad Creative, Photographer, Owner

Product Photography, Styling And Photographing Lip Colour Swatches

Nehha Deshmukh, Ad Creative, Photographer, Owner

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10 Lessons (41m)
    • 1. Introduction

    • 2. Material

    • 3. Setting Up

    • 4. Matte Swatches

    • 5. Glossy Swatches

    • 6. Grouped Swatches

    • 7. Lighting Setup

    • 8. Photographing Lipstick

    • 9. Compositing

    • 10. Tips & Thankyou

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About This Class


When I began researching cosmetic swatches, I realised that there wasn't enough material out there on the big web, to guide me through it. I had to experiment and figure out my own way to swatch creation. Hence, I thought this would be a great topic to create a class on. I've already experimented with techniques and  figured out what works the best so you don't have to.

A good lipstick smear is both- intriguing and satisfying. Creating swatches is an art that is actually a lot easier and FUN than it appears to be. This class is about simplifying that art.

I have tried to keep this class as simple as possible to enable even beginner stylists to pick this skill of swatch creation.

This class has been organised in the sequence of steps that I follow during swatch photography. This class is a step by step guide for learning about - 

  • The material required for swatch creation
  • Setting up the space for swatch creation and photography
  • Simple techniques used in creation of smears as seen in popular cosmetics brands like Este' Lauder, Urban Decay, Net-a-Porter etc.
  • How to create grouped swatches
  • Which lighting to use for swatch photography
  • How to photograph lipsticks
  • How to composite the photographed lipstick and smears together in photoshop
  • Tips 

So let's get started!












Meet Your Teacher

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Nehha Deshmukh

Ad Creative, Photographer, Owner


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1. Introduction: A good makeup swatch looks effortless and editorial. But I think what it really is as an abstract art, when I'm making swatches, I like to look at them from the point of view of whether Are they framable or not? In this class, we will look into how to create a few varieties of makeup swatches using actual lipsticks and real lip gloss. Then we will look into how to photograph them, which lighting works best for which kinds of swatch I will also show you how to photograph a lipstick for a professional-looking swatch composite. Then we will look into how to bring the swatches together in Photoshop to create a lipstick swatch composite. This class is organized in the sequence of steps that I prefer to use when I am styling and photographing my smears. The swatch creation section of this class is pretty beginner friendly. However, the photography section is a tiny little bit advanced, as I will be using a single speed light to photograph my smears. Hence, a DSLR is definitely recommended, but it's not mandatory. Your assignment at the end of this class will be to use the tips and tricks discussed in this class to make your own smears at home. What is important is that you feel inspired to experiment with your swatch creation. Hi, I'm Nehha, and welcome to my styling and photographing swatches class. 2. Material: Now the first step before any shoud begins is to gather all the material required for the shoot. I prefer to have all my material gathered in one place and ready at least a day before the actual shoot, just in case something goes wrong. I don't want to be running around finding and searching for tools in the middle of the shoot. If you're shooting for a client than that looks very unprofessional, now you need to go on a treasure hunt around your house or your art supply store. So to lose, you will gather and depends on the shape of your required swatch, required smear, and listing out the material that I use, but you don't have to have all the materials on hand. So what I recommend is that you watch the entire class to the end. And then depending on which swatch you want to create, use the tools accordingly. So we need palette knives. If you don't happen to have palette knives, then don't worry about it. You don't need to go and buy them. Just look for alternatives around the house and search for alternatives. What we are looking for is the shape of the tool square, oval, short and sharp. clay modeling tools. I don't use all of the tools, but just this one. I will use this one to create petals, a flat brush. You can use a makeup brush or a paintbrush and using a nice thick concealer brush, I also have this flat plastic spoon that had come with my Baskin-Robbins ice cream that I had saved from some time ago, which is proving to be very useful these days. And Urban Spoon transparencies are flat white surfaces like glass or acrylic sheets. I like to use Pp plastic surfaces as they are very easy to clean. The color comes off very easily after the use. This material is what files and folders are made of. It's also a non-reflective, which makes it very easy to photograph. Double-sided tape, lots of kitchen napkins, Coconut OIL, plain white paper. This is just to place under our transparencies as we create our smears, dishwashing liquid. This is to clean out our tools afterwards. Finally, most important material, our subject, that is lipsticks. Yes, we will be using actual lipsticks for creating smears. I refrain from using acrylic paints for making swatches for a couple of reasons. A) acrylic paints dry very quickly. You have to work really fast with them. And B), getting the exact shade is often tricky, especially when working with lipsticks that contain shimmer in them. And in an effort to get a particular shade, right, we often end up buying way too many paints and material and it turns out to be more wasteful in my opinion, I find that unnecessary, but that's just a personal preference. Some artists prefer to use acrylic paints, oil paints, and other mediums, and that's okay. So now it's time to put those expired lipsticks to good use. Once I've gathered all my material, The next step is to set up my workspace and my lights. So let's do that in the next video. 3. Setting Up: If only lipsticks swatches are being photographed, then the swatches can all be created in bulk in one go and photographed later. But if you're photographing, you're creating gloss watches. Then it's necessary to have the lights already set up before creating the smears because lip glosses tend to not hold their shape for too long. And you can see here as soon as I have prepared my lip gloss, as soon as I have my gloss onto my base, the gravity starts to take its toll and the lip gloss starts to change its shape. So we have very little time to actually get the swatch photographed as is. I always begin with placing my base. In this case, it's my trusty, sturdy table. And then I like to build my lighting setup around it. First of all, when you begin to set up your workspace, It's a good idea to keep enough space around all sides of your table. It's important to remember that not only for this shoot but for any product shooy really, you never know when you might need to change the position of one of the lights or you want to place a new backdrop. I will be using an octabox umbrella and a single speed light for capturing my swatches. And I will use side lighting for my shots. Hence, I have my Octabox on the right side of the table. You can place your light on either side of the subject, but I want my shadows to fall on the left, hence my light is on the right. Now my speed light will be facing the inside of my Octabox. Because I want a large light source and I want softer shadows to begin with. at least. When the light flashes, the light falls on the silver material inside the umbrella and reflects out of it. So now the umbrella, the octabox becomes my light source. And the light source now is much bigger than my speed light, in which direction the speed light faces depends on what shadows I want to create. We will see the result of this in the later part of this class, I want to take flatlay shots. Hence, my camera will be positioned over my table. I will be changing the angle of my camera later on for a couple of shots. But now I need my camera to be positioned on the top. So I can also record the swatch creation demo for my class. Once I have my camera on the tripod, The next step is to tether my camera to the computer. Small camera screens can be very unreliable when checking the accuracy and sharpness. So tethering basically lets me check for focus and sharpness of my images in real time as I photograph them, tethering is especially important for client shoots. We can't expect them to view images on our small camera screens. Once I have my light and my camera set up, it's time to start creating my swatches. So let's do that. 4. Matte Swatches: Now in this class, for the sake of organizing the videos, I have divided the swatch creation part into two videos. One video includes Matt swatches and the other one includes glossy swatches. The difference between those two is simple. Matte swatches, I have used the lipsticks as is without any thinning medium. And the glossy swatches are referred to as swatches that have been created using lip glosses and lipsticks to which I've added, a thinning medium and I've adjusted the consistency of those lipsticks. The division of matte and glossy is really for the sake of organization of videos. Now NYX wsatches are square and matte finish in nature. Hence, we will be using the lipsticks as is without adding any coconut oil or any thinning medium. Just cut a nice big piece of lipstick so that we have nice quantity to work with and press down with a palette knife to crush it. Now, keep on doing this till the lipstick turns into a nice soft pliable wax with a paint like consistency. Now next, on a piece of glass, place one small strip of double-sided tape. We need double-sided tape because it has some height. And I want the swatch to have a little bit of height, a little bit of thickness. Then place your tool next to it and place another strip of double-sided tape. I'm basically going to contain the lipstick wax in between these two strips. Now, I want a nice square. Hence, I'm using a square tool, take a nice amount of paint on the tool, and then apply it in between the two strips. And once you are happy with what you have, just lift the strips with a pair of tweezers. If you don't want your smear to be as thick, then use a little less paint than I have used here. Press down a little bit when you're making your smear. Another way to make squares watches is by just using square tools without using a double-sided tape. Now this is a very straightforward method. Just pick up some lipstick material with a square object and make confident strokes. It's super-easy and it only requires a little bit of practice and a little bit of confidence in your hand movement. Now Gucci style smears are just variations of squares smears in the sense that they are squarish on the top, you use a square root two, but then longer in the link. So use a square two and it longer bullet or a longer and you have your booty styles means one tip that I would like to share with you guys is that it's easier to make street strokes horizontally rather than pulling them down vertically. If you want to make longer straight strokes, I recommend making horizontal strokes rather than what constructs. Now, urban decay has these very peculiar and distinctive smears. They are thick, rounded on the top with tapering ends and layers. Layers are the distinctive feature of the smears. Now I haven't made these watches myself for this company, but they definitely made me curious as to go ahead and experiment and try them out for myself. To begin with, I used around two and the glass surface breast pain down lightly and pulled by lifting the tool. Now don't press down too much on the four-stroke. This is our first layer. And there will be a couple of more layers coming on top of this layer. To create layers, I'll be repeating the same step of few more times. This particular swatch requires a bit more lipstick to get those layers. Hence, it is a good idea to use two or three lipsticks off the same sheet to prepare the lipstick paint so you have good quantity to work with. Net a prototype. Rounds watches are the easiest to make up the bunch, but they are also the most problematic to capture. All one has to do is cut the piece of lipstick that set the interest in Net-a-Porter swatches as created by the natural texture that is formed when you've got the lipstick. Now the natural texture can be formed because of the tool that you use that as if the dual is, say, a bread knife, than it will give you serrated texture. How crumbly the lipstick is, how smooth the lipstick is, and then those textures, that texture the shape of the lipstick is enhanced by using a particular light, depending on how hard or soft the light is. So as far as technique goes when creating these new as the swatches, that is intellectual control. All you have to do is just cut the lipstick and then like those little pieces of lipsticks, accordingly. 5. Glossy Swatches : Now let's begin preparing our lipsticks. First, cut out a piece of lipstick and press down on the piece and squash it. I recommend putting pressure as evenly as possible, otherwise, the lipstick tends to fly off and escape from the side. Now, after the lipstick has been crushed, There are a couple of ways to go about this. We can either add telling medium to adjust the consistency of the lipstick or simply used the lipstick racks as is, depending upon the desired result. For shiny, glossy swatches, I add coconut oil, the lipsticks, a matte finish swatches. I don't add anything medium and just use the lipsticks as is coconut oil creates nice pick shines mirrors and is preferable for making glossy swatches that have high moisture content. Once we have the crushed pieces, add a few drops of coconut oil and keep mixing to the lipstick reaches up libel consistency. Now, that's the smoothness test, the consistency. If you're happy with it, bowhead, otherwise you'll have to adjust the consistency of your mic and your lipstick algorithm. I am happy with my consistency, so I'm going to go ahead and start making my smears. Now to begin with, I recommend that you always start with a clean palette knife, but let a good heap paint on the tip of a pallet knife as evenly as possible. Then on the glass surface, turn the knife upside down, keeping it straight and battle to the glass surface as much as possible. Once the paint touches the glands, start to push down the paint. A very tiny little bit. Page rises up on the sides of the blade. Now don't put too much pressure on the bottom white surface starts to show. We just want to evenly spread the paint as nicely as possible. Now at this point, stop loading any further pressure on the paint and simply follow the knife towards you. And as you pulled a knife towards you, of course it will pay the paint along with it. But as you're doing that, if look Swift stroke lifted the Nivea. Now for these years, I will be using a thick flat makeup brush. This is an old consider brush. Take a good amount of paint in the brush and create a nice smooth, round head for the stroke. At this point, the flat, broad tip of the brush brines upwards away from you. Then do the brush and hold it sideways so that the flat end of the brush faces sideways and only run off the brush touches the paint and then the paint towards you while lifting the brush at the same time to create the prevents. Let's look at this one more time, please. The flat, broad dip after brush pointing upwards away from you. Then lift the brush and hold it in a way that the flat end of the brush phases sideways. And only one. The brush touches the being, so tilt the brush a little bit. And then finally, the pinch to rams you by lifting the paintbrush at the same time. Now the stakes, a little bit of practice, you're probably not going to get it right and the force try, but it's very easy to kneel and you will get it dried in a couple of tries. This match will be made by using what risk opting to. That is flat and elongated. It is a shiny swell with the sharp pointy end. Pick up good sized dollop of paint with the tool. And on the glass surface, please down the dollar and press on it. Very likely not buffer pulling the paint or the paint upwards a little bit to give it some height on top. Now remember we want hide on the top here. So first the paint upwards and then swear the band in an anticlockwise direction in a swift motion. Don't, don't think too much a hand has to move really fast. Now let's look at this in slow motion again, please. The dollop of paint down and press on and very so lightly so that the page rises up. Now push the paint back a little bit and swale in anticlockwise direction. And there is your estimator error type swatch. I use lip glosses just as they are. Not only the stickiness, but the translucency of lip glosses can also be challenging to replicate, especially if they have any shimmering them. So I don't see any reason to change it. The challenge when working with lip glosses is that unlikely colors. Lip glosses don't hold their shape for very long. If, for example, your eye cannot create a federal shape with my lip plus watches the way I could with my lipstick swatch. So there is a limitation on how many types of swatches can be made with flip flops. Lip glosses are smooth and they don't have a lot of texture. Then it makes nice, good circular drops watches and good solutions. So to make a nice circular swatch bore out a nice dollop of lip gloss onto the surface and let it settle down on its own. Let gravity do its job and make when meeting drops wedges trying not to manipulate the shape in any way. Don't draw out a circle with the tube or spread the gloss and any wages, simply add the gloss on top of your glass and let gravity do its job. If your surface is nice and battle to the ground, then it will settle into a nice round swatch and configured to have some fun by Euratom. These cute hearts mirrors are very easy to read and they can be made with fraud, flip plus step. I like to just experiment with different colors and strokes and see what I get. There's really no end to it. And don't fret for whether you can get grouped smears, right, in Van Gogh or not really just a bunch of random smears can be proved together later on in Photoshop to make something really, really cool. 6. Grouped Swatches : Now I like to have everything set up before I start my speeches. So my lipsticks are rotten, downs marched, smashed, and ready to go. I have my transparencies and my Briggs right here. And I also have alert people's rate here. Then there are some extra lipsticks, have coconut oil. And these are my jewels in the sports there. My camera is set and ready to go as well. As I prepare my swatch here, I'm going to place it right here onto my camera and take a photograph with it. So I also have many light setup right here. I move the light a little bit behind. But this setup that I have now to begin with, I forced please my white base on the table. On the white base goes my grid that is drawn on the transparent acid to treat. And then on top of the acetate sheet goes my glass transparency on which I will be creating my swatches. I have begun this demo by creating the first MMWR on the job left Gordon wind. And the direction of the smear roughly aligns with the direction of one of the grid lines. I want my design elements to be pleased roughly around the diagonal. Hence by next year is going to be below the first mirror and different from the horse mirror. That's what it really comes down to when creating swatch layout. That is creating interest to variation in texture, color, and dimension. As you can see, the two strokes here moving in different directions. This not only adds motion to the art, but also adds more variation to the composition. It is also about bringing different energies together. Each smear has its own different vibration. There are innumerable techniques and combinations that can be composed to get. I recommend that you experiment and really just have fun with it. Not this space, your needs, some balancing needs. And instead of thinking of adding something here, or maybe here can balance out this surround sheep. If you are a beginner and don't yet you want to create complicated swatches, then that's okay too. A lot of interesting work can be created using a simple grid and just a single brush. Now, i have used scripts here to guide me to my composition. Doesn't mean that you have to follow the words. You'll also be intuitive about your smeared distribution. The idea is to combine color, shape, and texture to create indistinguishable art. 7. Lighting Setup: We're graphing swatches. It's super easy as we are working with stationary subjects that don't change their appearance or shape over time, like safe IS film. Hence, they can be photographed in literally any type of light, Continuous Flash, daylight, not an issue. They're also two-dimensional, which makes them even easier to photograph, and we only need one single liked to photograph them. However, there is only one big recommendation and it happens that you use an SLR camera simply because cell phone cameras wouldn't be able to capture the amount of details in the small strokes. Specially if you're capturing swatches that will be printed or will be used on websites, on Instagram, you can use watches that a shot on your iPhone or smartphone. But the blend have the high-quality looked at as necessary for printing in this section and photograph some of our swatches with one speed light and with an SLR camera. Creating smears are opaque surfaces, gives them shadows. So when it comes to lighting, all one has to decide is how strongly won the shadows to be and in what direction you want them to be. Let's look at a couple of examples. This is a square Swatch. This seems watch who shot in three slightly different lighting set-ups. Washington when one was shot with the speed light facing the inside of the octave box umbrella with the diffusion material on question number two, was photographed with the speed light facing inside of the October box with no diffusion material. And especially with three was photographed with the speed of light in umbrella facing the swatch with no diffusion material. As we can see, we have three distinct shadows here. In case of this swatch, the shadows were blending in with the plum color of the lipstick. Swatch number, on the other hand, was communicating detail of the swatch much better. The moisturizing quality of the lipstick is communicated here much better. Use light and shadow the communicates quality of the lipstick, the lighting of the second swatch communicates that the lip color is moisturizing but not glossing, no swatch. Number three also communicates that the lip color is moisturizing and not glossing. However, the swatch is slightly less interesting, in my opinion, as the shadows give out a little bit less visibility of extra. Hence, for me, swatch number two is the correct choice as it does the middle ground between Swatch number one and Swatch number three. First, I will begin with giving some hi to my glass sheet, to my transparency to move the shadows of the sphere as far away from possible. I want them out of my camera screen. The octave box from the left Light's both the swatches and the white backdrop under it. I used the same setup to photographs watches on dark background as well. The only difference that is for dark background is that we have to block the light falling on the black background. And that can simply be done with a piece of black card. And the benefit of using glass as a dancer. Versatile glass can also be clamped and positioned straight on the table with a wall being used as the background. Like I've done for this swatch here. However, that sometimes clamping doesn't work for lip glosses simply because the gravity starts to take it stirred and lip gloss starts to drip. In that case, the class has to stay flat and parallel to the ground. The combination of class and side lighting brightens the swatch as the light is hitting the swatch from both behind and from front. Now I really want to touch on this problem. I came across when I was recording the swatch creation demo from the top view reflective acrylic sheet. You can see it captured the cameras reflection. I want to discuss why that is happening and how to fix it. The camera was being reflected because it was against a white background. That's the white ceiling of my room. And there is an easy fix for that, please. A negative field behind the camera. This way the camera blends in with the dark background. You only have to make sure that the negative is big enough in size to cover your lenses field of view. I have used around magnetosphere year held in place by a reflector holder. 8. Photographing Lipstick: If you go to Pinterest or look at any beauty brand that says lipsticks. If you look at their images, then the look-alike double shot together. But usually the swatches and lipsticks are shot separately because the board meet different types of lighting. The lighting that was used for lipstick doesn't always work for swatches and vice versa. Now in this video, we're going to look at how we can photograph our Lipstick on a black background with reflection and also a white background. I'm using my Guadagni strip box from the left of my lipstick as my key light. I'm doing the lipstick. I have pleased and acrylic sheet for capturing the reflection of the lipstick. On the opposite side of the strip box, I have used a white reflect, which is just a plain white foam core board. This reflected not only adds light, but adds this nice little strip, nice white strip of highlight on the lipstick, on the product. Then behind and under the lipstick is a piece of long white, seamless fabric. And as you can see, my god oxy speed light is facing towards my product. Then underneath the lipstick, I like to place a small cut out, a piece of double-sided tape so that when I put my lipstick on my acrylic sheet, it doesn't wobble. Next, open up the lipstick to a point. There, you see burns, a white plastic rim 100. Now we don't want that to be visible in our photographs. So just open the lipstick long enough that the REM hides under the Golden part of the lipstick. And now I'm going to take a couple of photographs. For photographing my lipstick on a white background. I'm going to use the same strip box, the same god ox speed light that I used for photographing my lipstick on the dark background. But you were instead of placing my key light on the left, I will be placing my key light right behind the lipstick. Might key right is also my Babylon light. In this shot from my base, I have used a plain white sheet, often Core Vault, and on top of it, I have pleased and acrylic sheet to capture the reflection of the lipstick. And again, I want nice white highlights on the sides of the lipstick. Hence, I have to reflectors do white foam core board on two sides of the lipsticks. Now when you place these boards, make sure they are at an equal distance from the lipstick so that the strips on the lipstick, the book look exactly the same. If you place wonderful lecture closer and farther away from the lipstick, then one of the highlights will look broader and brighter and one will look darker and a little thinner. But that's not necessarily wrong if that's the effect that you're trying to achieve. Now in this case, I want brought my highlights to look exactly the same. Hence, I'm placing my reflectors at exactly the same distance from the lipstick on both the sides. Now, after taking the photographs, in this case, what you can see is the edges of the Lipset are blending into the right background. And I want a better separation. I want a better definition to my product. So for that reason, I'm going to place two pieces of black sheets, that paper on the sides of the lipstick behind it, then negative fields will be in between my key light and my lipstick. There will be reflected in the lipstick as black strips on the lipstick on the edges of the lipstick. Now as you can see, we have a better definition for our product. Our product is now separated from our background. Now I'm going to take a couple of shots with the cap of the lipstick next to the lipstick. Like to hold the cap down with a small piece of double-sided tape so the cap doesn't rule down and it stays in one place. Before we wrap this video up, I wanted to touch on why I have used 6.3 for the left shot by live yields in virtue of dewpoint eight for the shot on the right. But the reason for that is in the image on the left, a gap in the foreground with its logo visible in the photograph, unlike in the right shot. Hence, I needed a virtue that was going to give me the sharpness of the gap and yet keep the background out of focus. And that was 6.3. 9. Compositing: I photographed all my images in draw hands. When I open up my image in Photoshop, it automatically opens up in the full shop row. There, I do some basic adjustments like contrast, exposure if necessary, et cetera. I don't like to play around too much with my images. Then once I am done better or making a couple of changes on my raw file, I open up image and Porsche, once I have opened up my imaging foreshore, I strayed away, like to go about using the image a little bit. You don't have to do this if you're going to straight away separate your lipstick from the background. And I like to use the Healing Brush Tool, cleaning up my images. Next, I'm using the Quick Selection Tool Because I want to separate my lipstick from its background for better and more accurate selection of your object, I recommend using the pen tool. Once I have selected my object with my quick selection tool, I'm going to go ahead and create a Layer Mask. This automatically I background of my image and separate my lipstick from the background. Then I want to make a copy of my cleaned engineer and hide the layer mask to reveal the cleaned background. So basically I have two working Lee assume. One that has only the lipstick on it and the other one has fought the background and the lipstick on it. Now my swatches will be sandwiched in between these two layers. The bottom-most layer is my original layer, and that remains untouched throughout in all my files. Now drag-and-drop you swatch image, the load and lipstick layer and top off your background layer and separate the swatch from its background the same way that we separated the lipstick from its background. Once the smear has been separated, you can position it in whichever way you prefer. There are only a couple of things that you need to keep in mind though. A, US watches with the same or similar lighting. And B, pay attention, the shadows shallow should fall in the same direction, otherwise, the composition starts to look a little bit on. For my composition, I have selected images that have been shot in similar lighting. I follow these steps for most of my composites, the dram combining a single lipstick with a single swatch. When I'm composing multiple lipsticks with multiple Swatches and overlapping swatches with lipsticks. We're going to also add drop shadows to the lipsticks to give the image more realistic feel. However, when adding drops watches, don't forget to keep the angle of the light similar to that of your images. Chillax. 10. Tips & Thankyou: If you're using a liquid lipstick, then there is no need to add a painting medium. And I recommend using liquid lipsticks as they are to maintain the consistency. When making smears lipsticks aren't going to be lipsticks anymore. They're going to be more like paint. They will be completely smashed. Hence, men, you are photographing these shots. Should the smears at the very end for Australia, photograph the lipstick as is if you're creating a bunch of smears for different shades from one collection, then it is ideal that all the smears be similar. So it looks like a campaign. Let there be a Patton. And for that reason, a lot of brands use one single swatch and change its color, alter its color with the corresponding lipstick shade in post-production. Now can you create this mirrors on paper? To create these smears on paper? The paper starts to absorb the oils in it. So I recommend not to and just go ahead with plastic or glass as your base. Sometimes you'll get nice mirrors when you're not even trying to create any smears like when you're cleaning your palette knife or just when you're testing your paint. So pay attention to when you're reading an interesting swatch. The top of the smear reveals the shape of the tool that was used. People plastic surface is textured and that texture. Who was the paint? Unlike glass glasses, very smooth and it doesn't hold the paint as much as the plastic tips. When using tools and ballot miles, I recommend using steam palette knives as possible because they are heavier weight, unlike plastic ballot nouns which are lighter. So with steel nines, with metal, nice, it is easier to put more pressure on the brain and brain down quickly. Thank you for taking this class. I hope this class was at least a little bit helpful to you. And if you do have any questions for me, then please do not hesitate to get in touch. Thank you.