[Updated] How To: 3 Basic Eyeshadow Placements (Eyeshadow for Beginners) | Sarah | Skillshare

[Updated] How To: 3 Basic Eyeshadow Placements (Eyeshadow for Beginners)

Sarah, Certified Yoga Teacher & Makeup Artist

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8 Lessons (47m)
    • 1. Introduction

      0:36
    • 2. Basic Eyeshadow Brushes To Have

      3:33
    • 3. 3 Eyeshadow Placements (shown on paper)

      4:43
    • 4. NEW : 3 Eyeshadow placements on iPad (Digital)

      17:14
    • 5. Darker Outer V Eyeshadow Tutorial

      8:19
    • 6. Halo smokey eye tutorial

      5:39
    • 7. Dark to light gradiant tutorial

      5:32
    • 8. The End

      1:10

About This Class

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This class will cover:

  • Essential eye brushes
  • Various sections of the eyelid
  • 3 basic eyeshadow placements shown on paper to better understand where certain eyeshadow shades can be applied to get a certain effect
  • 3 tutorials on the application of eyeshadow

The class is geared towards beginners in eyeshadow who are unsure of how they should apply the different eyeshadow shades. No prior knowledge or experience is required! 

If you enjoyed this class and would like to learn more, feel free to watch my other makeup classes: 

Transcripts

1. Introduction: Hi, everybody. Thank you for joining this clause and welcome. I'm Sara. And today we'll be talking about I should will be six. So what will be going through in disclaims would actually be the different brushes that I think would be very useful in Crete. To many different eye shadow looks as well as the three different I should've placements that you can actually masses so than you can just use any different color combinations to create your own looks. So just to quickly recap today's constant focus a lot in terms of how to please I should does that, say, own the islet itself as well as two different. I should've placements, as you can see here, so let's just begin. 2. Basic Eyeshadow Brushes To Have: Okay, So before we can do any, I look like any painting. We're gonna need tools so thes had to fall. I brushes that I do think are quite necessary. When it comes to doing. I looks so let's go through them. The very 1st 1 is the most. Um, I guess it would be the most common one that you generally see on the market. These are called shade of brushes. Shada brushes a flat to one side, and then you can see there tape it here. So what they're good for is to deposit color onto the mobile eyelid. So, um, you just press the color down. It's for deposition of colored. Not really for blending, he answered. This one is, for example, the zoo Eva, too. There's a wave, but 234 looks like that now the second kind of brush you're going to need for more precise color deposition would actually be a pencil brush. So this is, for example, a Sigma pencil brush, and it looks like that. So, as you can see right now, it's very tape it. It's much smaller when it comes to the bristle size, so combat to a shade of brush, right? You would see that this would actually touch less of your skin, which basically means you can have more control over where you actually deposit the color on your mobile island. So this helps former precision precise work for even underneath the last line of you want to, because it just gives you a lot more control, a lot more precision. Then it comes to the two different kinds of blending brushes that you can actually use to blend out your eye shadow. Now blending brushes are essential because they are the ones responsible for giving you that blown out effect without looking muddy. There are two kinds. The very fist mud would be what I call a tape, it blending. So as you can see here, it's cinched right at the Ferrell, and then it just spreads out right, like vet. So what that does. Basically, it gives you more control over your blending process. So if you struggle and with blending, maybe of colors are going to high up or if you just have Tamala islets, I do think Tapit blending brushes do what better that this is. For example, the zoo evil looks self defining 2 to 7. So it looks like that once again, and it is much more tape it and more controlled. The last brush is actually a fluffy blending breast. So if you take a look here, you would see that the bristles Yeah. Oh, spread out evenly. There is no synching off the pharaoh at all. So what this basically does is it gives a lot more contact with the skin, right? So that means when you blend it even circular and all that the bristles touch more skin, which basically means the color, the more blown out than normal. So if you do have smaller islets, dis may not be the best kind of brushes for you to start with until you know how to gain control. So this is D 2 to 8 crease brush. So once again, it doesn't have any singeing. It is full Damita all around. So maybe you show it to you like that you would realised no cinching at all. Okay, so just a quick recap thes out of full brushes that you're going to need for the three looks I'm gonna show you later. We have d shada brush right here. the flat one right, And then we have a pencil brush from a precise control and more precision when it comes to deposit in color. Then we are also going to have a fluffy blending brush and a tape it blending brush. All right, so now let's move on to the different kinds off placements. 3. 3 Eyeshadow Placements (shown on paper): Okay, so let's begin on. Let's take a look at the eyeball first. So please don't judge my drawing. But I tried my best. Um, so obviously, we're gonna have the eyebrow. We're gonna have your eyes. And then, of course, some of us may or may not have those. It's actually called the crease. If you don't know what your crease is, it's basically when you push in gently, you actually can feel your, um your orbit that the bone. Yeah. So this is decrees, and then this will be called your mobile island. It's the one that moves when you blink. So this is called a mobile islet. This is decrease eyebrow. OK, so I'm going to now show you the different color placements that we can talk We will do today. So there's three different color placements that, um, we can actually talk about Andy's. Actually, the basic ones that I feel once you master, you can really do any look because it's just changing the color combination. But you would realize here I actually labeled the colors. So we have a transition shade, a dark shade and a light shade. What? I usually spend these unnecessary for its because it with these three shades, you can actually come up a variety of look. So that's what I'm gonna do today. For example, if I just use a regular makeup palette and I'll just show you this, it's from makeup geek, Um, apologies for the dirt, but if you take a look here, you can see, for example, this would work very well as a transition shape. This would look good as a dark shade, and then maybe this for a light sheet. Of course, it's up to you to mix and match, depending on your skin tone in your preferences. But as long as one is darker than the other, okay, and then the transition shape would be something that is pretty similar to your skin tone, but not too dark. Yeah, of course. Cool tones, warm tones that's also up to you. So let's start with the Verve office. I look so this is called the Doctor out to be so, as you can see here, we have the transition shape above decrease and in decrees, transition shapes are very useful to help your eye shadows blend nicely and to create it soft. Grady in instead of it just being chunks of eye shadow on your island. And then you can see here on the outer part off your mobile, ala it there will be a dark shade and then off course that in the 2/3 of your mobile island would be their light shade. This gives effect off lifting. So generally what we always like to do is if you find that your eyelids droop a little bit , putting a darker shade on outer. What actually caused to give the illusion of it being slightly lifted? So this, once again, it's called the doctor out of E. The 2nd 1 is actually what I call Halo smoky eye. So as you can see, the doctor shapes actually on the inner and outer that's off the mobile island and then duh like to shade is right in the middle. And then again, we have the transition shade above the crease, as was in decrease foot. It's moved Grady in. Now what does does Basically it draws attention to the middle of the I, and it actually makes your eyeball look a little bit rounder. This is the top one, which actually makes it more lifted. So this one doesn't give your eye and make it look a bit larger. A little bit more round again. Tree, different shakes. But it gives a different illusion. Okay, so once again, this is D Halo, smoky. The last one. Apologies for the correction team, but the last one, Actually, I didn't even use the the light shade. I only used a dark shade and the transition so you would realize this one is more for, I would say, suitable for Asian eyes. Very suitable for moral. Let's as well. Let's say you don't have the crease. What this does is it draws attention to your last night so the DACA shape super dark shade would be on the last line itself. And then you slowly work your way to what's a lighter shade all the way. Outputs to its the brow bone so you can see DACA slightly light and then again, you of your transition shade in decrees and above decrease to give that smooth transition to eye shadow shapes can be used because how many times you layer can actually intend to find the eye colors well or intensified the pigment as well. So to our shadow shapes is basically what you need for this kind of look. And this is called the, um, great and adopt to light radiant. So let's recap, doctor, like radiant. Look, we have the halo, smoky eye, and then we have that DACA out to be. So once you get these three placements down, any color variation will actually give you a large variety off eye shadow looks that you can do. 4. NEW : 3 Eyeshadow placements on iPad (Digital): Hi everybody, welcome back. So I decided to do an updated version for this class. The reason is because I was taking a look at the videos that I've done previously and I realized the video quality wasn't the best. This was my first class that I publish on skill share. And demonstrating on paper may not be the best way for you to understand that I should have placements. So here I am. I've imported my eye drawing onto my iPad and I'm going to show you the different eye shadow placements using a digital format. So that will hopefully help you see how to eye shadows will look eventually. Let's just do a quick recap of the eyes or the eyelids. So here this line C is your crease now decreases generally where your skin folds in if you guys have double eyelids or if you don't have one, if you gently just press onto your eyelid and you feel to orbital bone. So where your eyeball socket is generally that's where we would apply to transition shades. So that's where I'll crease should roughly be this area here. So basically your lash line all the way to your crease as what we called a mobile islet. This is where we put majority of our eye shadow colors onto. So it's basically you're playing area, right? You can put all the columns that you want here if you want to, to create the different looks. We also want to think about kind of splitting the mobile islet, Alden lit area into three. The reason is because we always say inner thirds out of third. So I want you to kind of visualize that. So imagine if I drew two lines like so, this would be the inner 1 third, this would be the middle or the center of the ILA, And then this would be the outer third. So this way I should have placements will actually be, oh, I just realized I removed the d. It would be really easy for you to understand. So your island is split into three. There's a crease, there's the mobile island and it's pretty much actually what you need to know. There is also the area here which is called the TIAA dot area, the inner cheered up area. So this area is where we generally will put a lighter shade just to brighten up the eyes. I don't really talk about that in this class, but of course, you know, feel free to do that. I'm mostly just focus on what we do on the lids just to kinda give you the idea that, you know, these three different eye shadow placements can really create a multitude of eye looks just based on the colors that you choose to work with. So that being said, let's demonstrate the three different isotope placements now. Alright, now I'm going to demonstrate the darker out of v. I shed a placement, the darker outer v. Before I show you the colors onto the eyelid, imagine, I'm going to kind of just demonstrate by showing you where we placed the colors Fest. So in general, we are always going to put a transition shaped Sama along freeze and slightly above. So that's the wetter transition goes to and then we're going to apply a darker shade. So as the name suggests, darker out of v, we're going to apply the darker shades some way here. So this is the outer 1 third of the mobile Island. And then lastly the light sheet will go into the inner, kinda my inner two-thirds of the mobile Island. So this is roughly the I should a place men when it comes to darker out of v. So that being said, I will demonstrate using. And the colors now, so I'm going to use an air brush just to kind of mimic the idea. You know that when we apply eye shadows on our islands, we do want the idea to, it looks airbrushed, it look seamless with the skin. I'm just going to increase my brush size just a little bit. And it's begins. So I always start with the transition shape and I'm always gonna apply it along the crease as well as slightly above it. Like so. How much transition shaped you apply, meaning how high you blend it up, really depends on the amount of space you have on your eyelids. So again, play around, see what looks good on you, what you prefer. And that would work generally really, really well. So again, I'm going to use as much to hear, but you're going to use a blending brush. And we're going to just kind of blend out the transition shape. So it transition shade is very useful because again, it acts kind of like a barrier from the CBA to your eye shadows. It it also absorbs any moisture or oils that you had on your islet before we apply eye shadows because these oils will cling onto the powders and it doesn't make, it causes blending to be really difficult. So transition shapes kind of provide you with the ability to blend a lot easier. And it also helps to make everything more seamless because you're blending it into the transition shade. So a good transition shade would be something along the lines of your skin tone, maybe a little bit darker. And that way it was really great. Because play around and see what works for you. So once I'm pleased with my transition shade, I think it looks pretty good. We're going to move on to my darker shade. So for the darker shade, I'm going to reduce my breast size. The reason is because imagine like you're changing a brush from a big one to something, say like a pencil brush to give you enough precision. Whoops. Okay, and I'm going to put it here. So why is it called darker out of 0s? Like this area here that you are applying the dark shade. And I'm just gonna put it into the to the outer 1 third of the mobile islet. So does looks pretty good. If you feel like he's not dark enough, you can always go back and add a little bit more. And then we're going to again blend it out. So roughly something like that. Mice much to may not be the best way to demonstrate this. But I mean, I kind of want to give you an idea of roughly how it will look like on your eyelids. Alright, so let's say it looks something like that. Why generally like to use a duck shape fares is because festival Doc Sheets are a lot more difficult to blend and they take a little bit more time to work with. If you put your light sheet fez and then put your dark shade over, there's a high chance you're going to be blending the light shade away. So usually the dark shade is usually well go FES followed then by the light shade. So for the light sheet, now that we're plat, we're pleased with the placement of the transition and dark. We're gonna put a light shade into the inner and middle of the mobile islet. And you can even overlap a little bit of the dark shade here just to kind of cover up any blending that you feel may not be the best and you just blend it out. Let me go. So I would say this is how it will look like for darker out of v, I'm going to just put an i back. So this way you can kind of see the eyelashes go impact on. So this is roughly how the darker out of v will look. So to darker shade is always focused on an outer 1 third and two-thirds out. A lighter shade and, and the transition just above, just to help it the blending and to make everything looks like it's going into its your skin. So it's just a very seamless blend. So to darker out of v because you're applying a darker shade onto the outer 1 third of your mobile island, it gives you the illusion of a lifted I. So that's something that you can always play around with to see if you like it. So I'm going to just show you what you can do on your lower lash line. I removed the words at the bottom because I have to work below it here. So taking a smaller brush you can always apply a transition cheats slightly along the lower lash line. Again, this is to give you a good seamless blend, taking your blending brushes slightly blended out. Now this can work a lot easier if your transition state is closer to your skin tone. So if it's a little bit darker or, you know, different, like let's say your skin tone is cool but you're deciding to use a warm shade and you have to be very careful of your transition sheet. And then we will mimic the application of the mobile islet onto the lower lash line. So I'm going to use my doc Shane, I'm gonna put it onto the outer 1 third of my lower lash line and lend it out. And I'll do the inner two-thirds using the light shade, like so. And then again blended out. I will erase any parts that I got into my eyeball. You probably will not have that issue when you do it on your real i but it will look something like that. Let me just apply and I am back on and Kate, Debbie go. So this is how the darker out of v look, will look like. So hopefully you can play around with debts. This is one of the most versatile eye shadow placements because you'd really just need to change up the dark shadow and the light shadow and really create a whole variety of looks that looks completely different from the previous ones. So play around if this see how you like it. And now we move on to the second demonstration, which is to halos, Smokey, I suffered a Halem smoky eye. It would give you the illusion of a more rounded eye as well as a larger II. Because what we're gonna do is we're gonna put a transition again along the crease and slightly above. But here we're gonna deduct shape on the inner one-thirds as well as to outer 1 third of the mobile islet. So when you kind of, you know, darken this areas up, it kind of gives the idea that, you know, your eye becomes a little bit more rounded because the edges of your eyes will now reflect less light as compared to the middle of your islet. And of course, the light sheet goes in the center here. So this drawing is extremely messy. So I will show you using the color placement. Changing brush, going with my transition shade, making sure my brushes about pretty big. So using it like a blending brush, I'm gonna put my transition shaped again in decrease. Slightly above, like so, blending it out using a blending brush. And then what we'll do is we're going to go to our dark shade. Decrease the size to use something that has good precision, say a pencil, a pencil brush. And then you're going to apply it here. So to outer 1 third of the mobile islet and the inner 1 third. So somewhere here. Again, I'm just drawing it in a box, but of course, you know, depending on your eyelid, that's how it looks. Roughly. It will look like that. Okay, it's not gonna look great. Don't worry, this is where most people will panic, but slowly taking blending brush and brush it out. So what I recommend actually is blended out Fest and then decide whether you feel that you need to add in more eye shadow or not. It's always easier to add and then blend again versus adding too much and then trying to blend everything out. Because trust me, I've been there and it's not simple to actually correct. So this is roughly how I look and I might maybe let's go a little bit more with the dark. So I'm gonna go back to my dark shape. I'm just going to add a little bit more just to kind of build up the intensity and then I blend it out again. So if you think of your fence router blending is like to blend the edges. And then if you want to apply eye shadow again on the second time, it's just to put it in kind of in the middle of the area, you blend it, so then it'll be a lot more seamless. I hope that makes sense. So that being said, maybe this looks pretty good to me. So this is my dark shade applied and now I move onto my light shade. So if at a light sheet I will give my pink, I'll just put it into the middle out, uh, in, uh, sorry, the middle of the mobile Ayelet, You will again overlap the darker pot so you're blending around those areas, can be camouflaged. And then taking you blending brushes lightly, blend those edges together. So you don't go crazy with the Blend brush here. You can even just pet your blending brush very lightly and it will generally blend pretty well. So there we go. So this is the halo smoky eye. Really good. If let's say you have almond-shaped eyes and you want to kind of just give the illusion that your eyes are a little bit rounder and a little bit more bigger. But of course, you know, play around again and see whether you like it on you or not. This one, there will always be a messy stage, meaning the moment you apply your dark shadows and you're blending it. There might be a moment where you're like, oh my goodness, it's not going well, but don't worry, just keep blending. And eventually you'll see the light at the end of the tunnel, I promise. Alright, so now we're gonna move on to the last demonstration, which is the dark to light gradient. So dark to light gradient is actually one of my favorite books to do because it actually only requires two eye shadows here too. I shadow shades. You don't even need the light shade. Not in my opinion. But of course, if you want to add it in go-ahead at more dimension. Of course, but if you're in a rush to eye shadows were perfectly fine. So in the dark to light gradient, you basically again gonna apply to transition along the crease. And here you're going to work your doc eye shadow all along your last line. And then what happens is you're slowly going to build a blend. Does dark eye shadow upwards towards your eyebrows. So it's kind of giving you dock to my gradient from Julesz line to your eyebrow. So this is a really good look for people who, let's say half, not a lot of lit space, but you still want to add some beautiful colors onto your eyelid that this works really well. Or if you have monoliths or you just basically want a really quick way to just put him some eye shadows and still define your eyes at the same time. Because when you put a darker eye shadow along your lash line, it will definitely help define your eyes. Versus if, let's say you just put one and I shadow color all over your eyelid. So this is what we're going to demonstrate now. Let me change my brush. So same thing going with my transition, getting a fluffy brush. So maybe about 5%. And I put it in the transition as our output, a transition into decrease lips slightly above, and then blend it out. Then I will go straight to my dark shade and I'll apply it right here on the lash line. I'll go in one Meleis I wanted pretty intense. And then m, whatever product that's left on the brush, I'll just kinda bring it up a little bit. So remember, it's always easier to blend it out and then add more to intensify it versus if you put in too much and that you struggled to get rid of any because it's too much right? It's very difficult for you to remove the intensity. So blended nicely. Remember it's always blending the edges away. You don't want to blend up and down because what's going to happen is it will create a very muddy, may not be something that you're going for. So I'm actually quite satisfied with this, but let's say you feel that, oh, it's still a little bit light and you want to go a little bit more. Again, taking a smaller brush, just focus the color on the last line. Okay, and then taking new blending brush is blending it away. So it looks something like that. Of course. You will not have this problem where I shed it goes into your eyeball. And so this will look something like that. If you want to use the light sheet again, you can always put it onto the in a kind of like tear dot area. Depending on your light shade of costs, something shimmery, something bright would really help to make your eyes look more awake. And then just gently blend it out and that will work really great. So it's still Tree eye shadow, look, I mean Trisha tree eye shadows, but it'll work really, really well. So this is the doctor might gradient really quick way in my opinion to add definition. Tls line give you, you know, make you look more weight, more put together, and you can play around with the colors that you want to as well. So for example, I love color pop eye shadows. I use one, a different one every single day. The looks generally look all the the all different but the eye shadow placements where I placed them on my eyelid is generally always the same. So you can play around with these tree eye shadow placement, play around with the different color combinations. And then once you feel comfortable with all three, you can even add more colors so you don't even need this three eye shadows. You can use more just to add more depth at more dimension to your eye looks. But, you know, if you're a beginner, I really hope that these tree I, shadow placements will help you. And they do so much for watching. If you want to watch my other videos, please feel free to check out my profile. I have more about makeup. If not, have a good day guys and thank you very much. 5. Darker Outer V Eyeshadow Tutorial : So now we're gonna move on to the eyes. So as you can see this, my eyeball And before you even apply any eye shadows, usually you would like to prime your eyes. So what I'm just using here actually is just a regular concealer. And then we're just gonna dot that here, um, to provide a little baseball, I should have to go on because I should have a powder after all. And then what basically does is adding a layer off cream or primer or things like that will actually help. Your eye shadow powder is to actually adhere to your skin a lot better. So after perm in your eyes, you should always try to set your primary because setting your primary will actually kind of prevent any skipping so that your eye shadows when you're blending it. It doesn't release keep on the island itself so that it's a most smooth based to begin with . So I'm just gonna set my eye shadow of any bone shade. Um, here I'm just using a face powder. So if you actually feel your eyelids, it's a lot more smoother. And then what that's going to do is powders we actually go on to it much easier. Okay, so for demonstration purposes, this was the palate I show just now. So I'm gonna use justice. My transition shade. This will be my doc shade. And then this will be my like to shade And can you, for all three looks that we're going to do so that it's easier for you to actually see it. So the very first thing is, we always want to grow about transition shape fit. I'm using a fluffy blending brush. If let's say you don't know where your creases. Very simple. If you just feel it. Feel your, um I bone, you actually feel there's a born here that is called operable. And then if you press it down to with that area, you would see it forms like a C shape on your island. So that basically is very increases. Or actually, if you look at my islets right here, you can actually see I'm a fold of my eyelids right there, so that can't focus. Well, so here we go. You can do been shut white back again. If you want to. You can also do circular. So if let's say I use a fluffy one. I'm going to get a lot more color deposition all around my island. Vess is it? Let's see, I use a cheaper one because the tape, it one who actually fit in here, and it touches less of my skin going to go in a little bit again with my transition shade. So, as you can see, just a transition shape in decrees slightly above decrees. Okay, ignore if it goes a little bit below. It's fine because you're still gonna put color on to a lead term. Now taking your pencil brush. Any pencil brochure do. I'm just using this one Ataka shape right here. You want to place it here? Okay, so you can see deposition and take a little bit more folk. It's OK. That looks patchy. Now just focus it on the outer pot just like that. Okay? You came and draw it up like that. What I What I'm doing is basically kind of making it into a Vichy. Oh, triangle. Okay, now some people call this the out to V because they do kind of bring it out a little bit here as well. So as you can see there's a V is a Vichy like that. Then you can go back to your blending brush and then just blended away. Now, if you struggle if you feel that your I should is I'm not blending as well as you want it to be. All you can go you can do is you can go back into your transition sheet, take a little bit of that kep of any excess and then just go over it so it smooths out the color. Now, if let's say it exceeds okay, don't worry too much about that. You can always use concealer to clean it up, So we're just gonna lend it like that. I'm doing circular motions here because I want to kind of bring out the DACA Qala a little bit more for myself. That's the look I like. Yeah, so just so you get something that looks like this you cannot cause leave it like that if you want to. Um now again, if you think you need it to be a bit mom, if you want it to be a bit darker, more intense, you can go back. So I'm going with another Leah. Yeah, So it looks something like that. That is it. So as you're realize right now, you can see that with my eyes opened, the darker shade actually pushes this area back. So then it looks slightly lifted, Blending with the tape, it brush. You can't again do windshield wiper. I like that. I like to do this because I'm bringing my brush to smooth out the edges off my, um this dark shadow that I placed. Oh, yeah. Okay, but you can't again do circular if you want to blow out the color even more. And then when she was and then you're Doc Shade is pretty much down. Now, this pot here, don't worry too much about it. You're gonna put a shimmer shape all over it. So two shades down. We're now going to move on to dish, initiate golden light shed using a shade of brush. I'm going to dip into the shema shade right here. And then what I'm gonna do is I'm gonna press it on the island like that. And then as you come to, what's the part with your doctor? Shit. You just lightly tapped tapping. It helps to kind of not put so much color on, so it blends a bit easier for you. Now if you want to, you can again use the shade of rush and shape the how you want to color to be. But pressing the color down will give you more pigmentation as compared to swiping picking the blending brush one more time we're gonna blend. Now blending the light shade doesn't take too much effort because, um, she machine generally are easier to blend. So just some light strokes here and then and that you go If you want to use on Elena, you can if you don't want to as well. It's perfectly fine. So as you can see it, let's say you don't like this. Um, all you can do is you know, that conceded that you use just now you can just take a little bit. Let me show you how to clean up just a little. Yeah, like that is fine. I have a bit of dark eye circles of little Cover that up too. You can take the point easy. It's flat. And then you point it like that. Yeah, so you can use your concealer to clean it up to make it a little bit more neat if you want it to. I generally don't like it to be, too. I don't like it to be too straight. So what I'll do is I'll take my finger and I can adjust. Defused it, diffuse down even more. Okay, so there you go. If you change any color, if you want to, you can put like a blue, ah brown and you know, transition shit. You get a blue smoky eye. You do like, let's say you do a a pup allow and the dark blue with a transition shape that can work as well. So, basically, once you understand the placement off the color, the transition shade like to color and darker color, you basically can. When you played all the shades to create your own looks as so Now let's move on to then next. I should've placement. This is how it would look like roughly via lashes. Um, if you want really do these kinds of looks, usually having eyelashes that are longer the ends in shorter in the middle. Sorry. Shorter at the beginning will actually help you to give that lifted effect even more 6. Halo smokey eye tutorial: Okay, so I think for the second I'll show you on my other eye. So then later you can actually see that they are very similar. It's just at the color placement. It's a bit different. So, um, that's begins the same thing. Before you even put I should on always put your primer or your concealer. Any kind of cream beers would work. So just put a little bit here, and I'll blend it out. Something like that would do. Okay, so ah, ones your cream bases. Even what you need is to set it down with a powder so that all the powder shadows that you put on top doesn't skip. So again, I'm going to use my face powder. And I'm just gonna depth that on with my that just to smooth it out. Death. Okay, so this is how it looks like right now. So now what we're gonna do is I'm gonna put again to transition shade into decreased and above slightly so I can't use the same fluffy brush dipping into the transition shaped of about one in the middle type of any accents. And here we go. So as you can't see, I'm just using Winship White. But here and then if I want to, I can circular motions out a little bit. Now, you would hear a lot of makeup tutorials, but he actually ask you to hold the brush at the end about what happens I feel is that you really don't have um I mean, I can't do that, but it doesn't feel like there's a lot off control, so I would still hold it somewhere in the middle and then just use a little bit less pressure so that your your, um blending would actually be a bit more seamless as competitive, pressing it down onto your eyelids. So just windshield wiper and a bit off circular motion and you have your transition shade down Now, the next thing is, we're gonna take the doctor shade on the pencil brush again, okay? Dipping into the darker shade right here. I'm gonna put it like how we did previously, we're gonna put it on the DACA as very we're gonna put it on the outer part. And then we are also gonna put it now on the inner part like that. So having a pencil brush is good because it helps you control how much you put. This is something like that. It looks messy right now. I know. Um, but don't worry. It will come together eventually. So as long as you place the color, you're pleased with where the color is placed, then you take your blending brush again on and to ease the blending, put a bit of your transition shade on it and then slowly work your what? The edges will get the edges so that it looks a bit more soothed. Circular motions can help. Take the color out. Okay. Windshield wiper. You can bring it into connected slightly like that. You feel like it is looking patchy. It's OK. Take a bit more transition shade. Press it on the edges off your dark shadow. Press it first. Yeah, And then after that, you blended. So then what it does is actually it helps too much to off the shades together, giving it a more seamless look. So, for example, this part I need it to blend a bit more. I would like it to blend a little bit higher, so I'll take a circular motions like that. Okay. And then I will do this again Because for the inner corner, I don't want it to high. That's usually where you look a little bit punched. So just staying it here. So windshield wiper, It's good. So then I think I'm quite pleased with how the blending is looking right now. So I'm going to do now is I'll put the middle shade using them, shed a shed, a brush and the light to shade right here. Same thing. I'm gonna press it instead of swiping it because it gives more color deposition now it's OK if you want Teoh moving a little bit over the color with the doctor sheets that you please , it's fine. So it gives a little blended effect. That's well, there we go. Okay. And then same thing. Don't just leave it like that. You try your best to blend it against to take the blending brush, slowly work, and you don't want to go too hard at it. Because then what's gonna happen is all your effort off placing dish initiates or disappear . So just lightly, much does sheets together. And you pretty much have something like that. Same thing. I'm gonna put some false lashes on to show you the effect for halo eyes. Usually if you want to, the better the most suitable lashes. To emphasised around it effect would be something like that where the longest lashes actually at the middle off the lash band vs, basically gives you I am more around it effect, and it kind of gives it a little bit of ah Laja illusion. 7. Dark to light gradiant tutorial : So I'm started again with a primed I. And now we're just going to do the last look, which is basically just using two shades. And it's a great in the doctors. I was on the lash line and ending goes light as it reaches to its your brow bone. So, for this step, actually, I am not going to begin with the transition shape. Usually, what I'll do is I'll take my pencil, Bush. I'll put it on the doctor shaped fest. So we're gonna take this. Yeah, And we're gonna actually just draw line along the lash line. Something like that. Okay, I know it looks a little scary right now, but it's okay. I know pencil brushes are in men for blending, but I just slowly used his brush. Whatever's left, not dipping back in. I'm going to object. Slowly. Bring the color ever so slightly. Okay, don't worry. If it goes out, actually, we can clean it up of concealer. I'm dipping it one more time with do the eye shadow, and I'm just gonna press it, press it down two. It's the lash line because I wanted doctors to be under less line and then fade outwards case and I look something like that. So now what I'm gonna do is I'm gonna take the teapot Blending brush? Yeah, the one that's keep it. I'm going to dip into the transition sheet, and I'm actually going to start pressing it office onto the, um, the harsh lines. I'll just press it down, Okay? And then after that, I would deep one more time, and then I'm through the windshield wiper emotions all the way in the crease. So I'm just using the transition shape to help even things out without it being too harsh. I don't want blocks of color. I want ingredient. Okay, so then again, it Let's see, um, you feel that, for example, your colors are not going smoothly. You like, for example, have a patch right hand middle. It's definitely we can definitely fix it. So don't worry. So once you're satisfied with the color in your crease, meaning the intensity you would want in sight decrease itself. You can actually take this, brush the tape, it blending brush, and dip into the DACA column. So I'll show you. Take this. You're going to dip into the darker color now, with the fluffy brush. And then what you gonna do? You gonna take off any excess and then used his fluffy brush and press the color down? I'm just lightly tapping it on my lips. So then you can realize the patch actually has been reduced. And then what I'm going to do now is I'm going to win. Sure. Wipe again to blend everything out. All right. So it should look something like that if you want to intensify it further, which I do recommend. So if you want to draw more attention to the I take the pencil brush again and just draw a pet in a bit more off the darker shade along the lash line like so Okay. And then what you're going to do is again just one last time smooths everything out. So it should look something like that. I do think that, um let's see a little bit of patchy. So I'm gonna take my tap, my tape, but brush again. Press that down, and then when she will wipe there. So this is the last book it's called the Grady Insert a darker to the lighter. It adds a lot of definition and works great. If let's say you don't have decrease the fold right here. So if you just have him onal its meaning, you have a lot of skin. Um, covering the the crease, for example, And you don't know. You know, if a lot of looks demand that you put colors and increasing, you don't know how it's fine. This method works really well because he just work from the last line onwards and you just moved up with slowly. So this is roughly a look you can do. You can change the colors up anyway you want. In fact, you don't even need to do doctor light. It can be a transition. She in just another color all over the lid. It doesn't have to be, you know, grade in if that's what you want. And so it's gonna look something like that. This one. I'm generally preferred to do it without lashes, but if you do again want to include it, it will definitely be fine. It's personal preference, So thes are three eyeshadow policemen's. Now you can do anything you want with these, you can change the color up. You can change even how many colors you add so you don't always need to use three. You can always do more or less. It's up to you. Yes. So these are the basics, or at least what I feel out of basics and know. Once you get that down, you can just change the colors, be your own artists. And then you have all the looks waiting for you to try. All right. Thank you. Bye. 8. The End: All right. So here we have the tree. I should've placements. I honestly hope this was helpful in some way to help you understand how I shadows can be placed on your eyelids. I will put this drawing if you would like it at the bottom in the class project. So if you want to print it out and you know, try and color it in to see how it would look like by yourself. You can do that as well. But I, of course, recommend doing it on your islets itself. So you can really see how different colors can look on your skin tone, as was your eye color. So then you can actually figure out what shapes would actually suit with the best. So everything, um all the details I'll put it below. So thank you so much for, you know, watching this class. I really hope it was useful. And I appreciate that You watched it all the way. So you have any questions you can ask me on Instagram? I will try my best answer You can DME And then if you do try, you know different. I looks you can hashtag musical, So I can take a look at it. Um, and I would, you know, if you need me to help you of anything else, you can also ask me that. All right, Thank you. Bye.