elartedelmaquillajepasoapaso-tomo2.pdf

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Creación Creación

David Fernández García David Fernández García Dirección Editorial Dirección Editorial Hugo Quiroga Capovilla Hugo Quiroga Capovilla Secretaria de Dirección Técnica Secretaria de Dirección Técnica Juçara Xavier de Souza Juçara Xavier de Souza Diagramación y Diseño Gráfico Diagramación y Diseño Gráfico Diego Quiroga Diego Quiroga  Textos y corrección  Textos y corrección Equipo Editorial HQ Equipo Editorial HQ Fotografías Fotografías

Equipo Editorial HQ/Shutterstock  Equipo Editorial HQ/Shutterstock  I.S.B.N Obra Completa I.S.B.N Obra Completa 978-84-95818-74-4 978-84-95818-74-4 I.S.B.N. tomo 2 I.S.B.N. tomo 2 978-84-95818-95-9 978-84-95818-95-9 Deposito Legal Deposito Legal Libro-MA-1480-07 Libro-MA-1480-07 CD-MA-1481-07 CD-MA-1481-07 Impreso en España - 2008 Impreso en España - 2008 © Ediciones Daly S.L © Ediciones Daly S.L

No está autorizada la reproducción total o

No está autorizada la reproducción total o parcial deparcial de

este tomo, ni su tratamiento mediante un sistema

este tomo, ni su tratamiento mediante un sistema

in-formático, ni su transmisión en cualquier forma,

formático, ni su transmisión en cualquier forma, yaya

sea electrónica, mecánica, fotográfica, o por otros

sea electrónica, mecánica, fotográfica, o por otros

medios sin el previo permiso por escrito de los

medios sin el previo permiso por escrito de los

titu-lares del copyright.

lares del copyright.

No part of this publication whatsoever may be

No part of this publication whatsoever may be

repro-duced,

duced, processed or transmited in any form or byprocessed or transmited in any form or by

any means, informatic, electronic, mechanical,

any means, informatic, electronic, mechanical,

pho-tocopying, recording or otherwise, without the prior

tocopying, recording or otherwise, without the prior

permission in writing of the

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1

100

 MAQUILLAJE

 MAQUILLAJE

DE NOVIA JOVEN

DE NOVIA JOVEN

Realizado por

Realizado porFlora GonzálezFlora González

...La boda va a tener

...La boda va a tener

lugar por la mañana,

lugar por la mañana,

dato muy importante

dato muy importante

a tener en cuenta por

a tener en cuenta por

el tipo de luz que

el tipo de luz que exis-

exis-te y que delataría te y que delataría rá-pidamente un exceso pidamente un exceso de maquillaje. de maquillaje. E

En este caso se trata de una novian este caso se trata de una novia

joven y moderna, de piel muy clara

joven y moderna, de piel muy clara

y cabello rubio. Como ya venimos

y cabello rubio. Como ya venimos

comentando, debemos considerar

comentando, debemos considerar

la edad de la modelo, su gusto

la edad de la modelo, su gusto

per-sonal y la hora en la que se va a

sonal y la hora en la que se va a

rea-lizar el enlace. En este caso la boda

lizar el enlace. En este caso la boda

va a tener lugar por la mañana,

va a tener lugar por la mañana, datodato

muy importante a tener en cuenta

muy importante a tener en cuenta

por el tipo de luz que existe y que

por el tipo de luz que existe y que

delataría rápidamente un exceso de

delataría rápidamente un exceso de

maquillaje.

maquillaje.

Observamos el rostro previamente

Observamos el rostro previamente

desmaquillado, y analizamos las

desmaquillado, y analizamos las

si-guientes características: cara de tipo

guientes características: cara de tipo

rectangular formando un conjunto

rectangular formando un conjunto

anguloso en la geometría cuadrada

anguloso en la geometría cuadrada

de la línea superior de la frente y la

de la línea superior de la frente y la

inferior de la mandíbula, siendo este

inferior de la mandíbula, siendo este

rostro algo alargado, pero no muy

rostro algo alargado, pero no muy

ancho. Los pómulos no muy

ancho. Los pómulos no muy

marca-dos, frente ancha, labios carnosos y

dos, frente ancha, labios carnosos y

nariz un poco desigual. Completan

nariz un poco desigual. Completan

el cuadro una notable barbilla, ojos

el cuadro una notable barbilla, ojos

grandes y expresivos, y unas cejas

grandes y expresivos, y unas cejas

muy marcadas, acordes con la

muy marcadas, acordes con la

es-tructura de la cara.

tructura de la cara.

D

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El marcado de la banana será leve, lo

El marcado de la banana será leve, lo

suciente para darle profundidad al

suciente para darle profundidad al

ojo. Se aplica con la misma sombra

ojo. Se aplica con la misma sombra

verde una línea muy na en el

verde una línea muy na en el

pár-pado inferior, marcando un pequeño

pado inferior, marcando un pequeño

ángulo. Con esto lograremos generar

ángulo. Con esto lograremos generar

un efecto de mayor brillo en los ojos

un efecto de mayor brillo en los ojos

de la modelo, y un aspecto más

de la modelo, y un aspecto más

im-pactante e intenso en su mirada.

pactante e intenso en su mirada.

Durante este proceso debemos

Durante este proceso debemos

te-ner siempre presente el viejo dicho

ner siempre presente el viejo dicho

que tantas veces se cumple en el

que tantas veces se cumple en el

o-cio del maquillador: ¡Menos es Más!

cio del maquillador: ¡Menos es Más!

y con cuidado de que no quede fuera

y con cuidado de que no quede fuera

de la zona.

de la zona.

Cerca de las pestañas se

Cerca de las pestañas se

ha puesto otro dorado más oscuro e

ha puesto otro dorado más oscuro e

intenso, pero con igual tipo de luz.

intenso, pero con igual tipo de luz.

Se aplica poca

Se aplica poca cantidad, la sucientecantidad, la suciente

para enmarcar al ojo.

para enmarcar al ojo.

Con sombra verde dorada y con el

Con sombra verde dorada y con el

mismo tipo de brillo pero de

mismo tipo de brillo pero de

textu-ra en crema marcamos una banana

ra en crema marcamos una banana

muy leve, con un pincel un poco

muy leve, con un pincel un poco

duro para poder arrastrar la sombra.

duro para poder arrastrar la sombra.

que contiene el producto. Se

que contiene el producto. Se

difu-mina muy bien con una esponjita

mina muy bien con una esponjita

de maquillar previamente

de maquillar previamente humede-

humede-cida con agua. Aplicamos una base

cida con agua. Aplicamos una base

uida muy transparente, con

uida muy transparente, con

difu-minado mate y muy batido.

minado mate y muy batido.

Se trabaja con brocha media-gruesa

Se trabaja con brocha media-gruesa

para conseguir un acabado

para conseguir un acabado

atercio-pelado y nítido. Limpiamos y

pelado y nítido. Limpiamos y

pei-namos las cejas. Aplicamos sombra

namos las cejas. Aplicamos sombra

de color dorada brillante en todo el

de color dorada brillante en todo el

párpado móvil trabajándolo mucho

párpado móvil trabajándolo mucho

El primer paso será

El primer paso será

hu-mectar

mectar la piel con agua tela piel con agua termal enrmal en

spray. Aplicamos correctores claros

spray. Aplicamos correctores claros

con un iluminador en color beige en

con un iluminador en color beige en

ojeras, rictus y la zona lateral de la

ojeras, rictus y la zona lateral de la

nariz, utilizando el pincel aplicador

nariz, utilizando el pincel aplicador

8 8 7 7 99 14 14 9 9 15 15 13 13 12 12 11 11 1-10 1-10 11-16 11-16

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TRUCOS

TRUCOS

& SECRETOS... & SECRETOS... MÁSCARA PERFECTA MÁSCARA PERFECTA Para lograr una aplicación

Para lograr una aplicación

profesional de la máscara

profesional de la máscara

de pestañas haz lo si- 

de pestañas haz lo si- 

guiente: coloca un espejo

guiente: coloca un espejo

a la altura de tu pecho, de

a la altura de tu pecho, de

forma tal que al mirar tu

forma tal que al mirar tu

Lo difuminamos mucho de forma

Lo difuminamos mucho de forma

que apenas se noten los trazos, y

que apenas se noten los trazos, y

aplicamos un gloss transparente

aplicamos un gloss transparente

con mucho brillo. El resultado nal

con mucho brillo. El resultado nal

es una novia joven con un

es una novia joven con un maquilla-

maquilla-je muy transparente y natural que a

je muy transparente y natural que a

la vez resalta sus facciones.

la vez resalta sus facciones.

Utilizaremos una brocha de

Utilizaremos una brocha de

colore-te de pelo de marta.

te de pelo de marta.

Perlado de los labios en

Perlado de los labios en

un color muy natural, tono rosado,

un color muy natural, tono rosado,

que se aplica en su propia línea tanto

que se aplica en su propia línea tanto

en el superior como en el in

en el superior como en el inferior.ferior.

2

211 2222 2233

...una novia joven con

...una novia joven con

un maquillaje muy

un maquillaje muy

transparente y natural

transparente y natural

que a la vez resalta

que a la vez resalta

sus facciones.

sus facciones.

Aplicamos máscara de

Aplicamos máscara de

pestañas de color marrón tanto en

pestañas de color marrón tanto en

el párpado superior como en el

el párpado superior como en el

in-melocotón muy claro se aplica

melocotón muy claro se aplica deba-

deba-jo del pómulo en primer lugar para

jo del pómulo en primer lugar para

darle profundidad y a

darle profundidad y a continuacióncontinuación

17 17 18 18 19 19 17-20 17-20 21-24 21-24

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11

11

 MAQUILLAJE

 MAQUILLAJE

DE NOVIA MADURA

DE NOVIA MADURA

Realizado por

Realizado por Vanesa Lopez Vanesa Lopez

A

Al trabajar con una novia del trabajar con una novia de

más edad, el maquillaje tiene que

más edad, el maquillaje tiene que

ser más elaborado, pero los

ser más elaborado, pero los

resul-tados deben ser siempre naturales,

tados deben ser siempre naturales,

recordando que se puede ir muy

recordando que se puede ir muy

Cara de tipo rectangular algo

Cara de tipo rectangular algo

alarga-do y estrecho. Frente ancha. Labios

do y estrecho. Frente ancha. Labios

carnosos aunque desiguales entre

carnosos aunque desiguales entre

sí ya que el inferior es más ancho

sí ya que el inferior es más ancho

que el superior, nariz enérgica, ojos

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Se aplica con esponjita de maquillar,

Se aplica con esponjita de maquillar,

dando pequeños golpecitos.

dando pequeños golpecitos.

Matizamos con polvos traslúcidos

Matizamos con polvos traslúcidos

con borla, para quitar brillos y jar

con borla, para quitar brillos y jar

el maquillaje. Se deja una pequeña

el maquillaje. Se deja una pequeña

Con una esponja de

Con una esponja de

ma-quillar aplicamos un corrector b

quillar aplicamos un corrector beigeeige

claro con pigmentos rosados en la

claro con pigmentos rosados en la

zona central de la cara, ojeras,

zona central de la cara, ojeras,

párpa-dos superiores e inferiores y arruga

dos superiores e inferiores y arruga

Hemos utilizado esponja en vez de

Hemos utilizado esponja en vez de

pincel por la gran extensión de la

pincel por la gran extensión de la

zona a corregir. Aplicamos una base

zona a corregir. Aplicamos una base

uida para poder disimular la

uida para poder disimular la

pig-mentación que tiene en algunas

mentación que tiene en algunas

zo-7

7 88 99 1111 1212 1133

1-8

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1

144

 MAQUILLAJE

 MAQUILLAJE

DE DÍA III

DE DÍA III

Realizado por

Realizado por Ana Marin Ana Marin

El maquillaje de día

El maquillaje de día

es aquel que se

es aquel que se

rea-liza buscando ante

liza buscando ante

todo la naturalidad y

todo la naturalidad y

el buen aspecto de la

el buen aspecto de la

modelo, estando

modelo, estando

lógi-camente relacionado

camente relacionado

con el estilo de vida...

con el estilo de vida...

E

El maquillaje de día es aquel quel maquillaje de día es aquel que

se realiza buscando ante todo la

se realiza buscando ante todo la

naturalidad y el buen aspecto de la

naturalidad y el buen aspecto de la

modelo, estando lógicamente

modelo, estando lógicamente

rela-cionado con el estilo de vida que se

cionado con el estilo de vida que se

lleva. No puede llevar el mismo

lleva. No puede llevar el mismo ma-

ma-quillaje de día una persona que va a

quillaje de día una persona que va a

dar clase, que la que hace deporte o la

dar clase, que la que hace deporte o la

que está en una recepción,

que está en una recepción,

atendien-do al público, pero en cualquier caso

do al público, pero en cualquier caso

este maquillaje se caracteriza por su

este maquillaje se caracteriza por su

sutileza. Sus tonos se combinan para

sutileza. Sus tonos se combinan para

generar una imagen armónica, lejos

generar una imagen armónica, lejos

de las estridencias y los colores

de las estridencias y los colores

fuer-tes de los maquillajes de noche.

tes de los maquillajes de noche.

Con el rostro previamente

Con el rostro previamente

desmaqui-llado, lo observamos y se ven las

llado, lo observamos y se ven las

si-guientes características: El rostro de

guientes características: El rostro de

la modelo es ligeramente

la modelo es ligeramente

rectangu-lar, aunque con barbilla

lar, aunque con barbilla prominen-

prominen-te, cejas desiguales, ojos

te, cejas desiguales, ojos ligeramenteligeramente

hundidos, frente muy ancha, labio

hundidos, frente muy ancha, labio

superior un poco desigual con

superior un poco desigual con

res-pecto al inferior, unas ojeras

pecto al inferior, unas ojeras

mar-cadas y pequeñas rojeces difusas

cadas y pequeñas rojeces difusas

en todo el rostro que será preciso

en todo el rostro que será preciso

corregir.

corregir.

D

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Se difumina con esponja de

Se difumina con esponja de

ma-quillar, levemente humedecida con

quillar, levemente humedecida con

agua. Aplicamos base de maquillaje

agua. Aplicamos base de maquillaje

en barra o pan-stick en dos colores:

en barra o pan-stick en dos colores:

uno claro que se aplica en párpados,

uno claro que se aplica en párpados,

nariz y pómulos, y un tono más

nariz y pómulos, y un tono más

os-7 7 10

10 1111 1212

Se prepara la piel con una

Se prepara la piel con una

crema hidratante, aplicada

crema hidratante, aplicada

median-te un ligero masaje. Se miden las

te un ligero masaje. Se miden las

ce-jas y si fuera necesario se eliminan

jas y si fuera necesario se eliminan

los pelitos sobrantes antes de

los pelitos sobrantes antes de

pei-narlas. Aplicamos corrector beige

narlas. Aplicamos corrector beige

1-10 1-10

TRUCOS

TRUCOS

& SECRETOS... & SECRETOS... MÁSCARA FÁCIL  MÁSCARA FÁCIL  8 8 99 7 7

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TRUCOS

TRUCOS

& SECRETOS...

& SECRETOS...

 A PRUEBA DE BESOS 

 A PRUEBA DE BESOS 

Si quieres utilizar el per- 

Si quieres utilizar el per- 

filador en tus labios para

filador en tus labios para

lograr un acabado pro- 

lograr un acabado pro- 

fesional, recuerda que la

fesional, recuerda que la

forma más fácil de hacerlo

forma más fácil de hacerlo

es la siguiente: es la siguiente: 24 24 23 23 22 22 En el párpado superior y En el párpado superior y

pegado a las pestañas se traza una

pegado a las pestañas se traza una

línea muy na en color burdeos que

línea muy na en color burdeos que

color burdeos mezclado con rosa

color burdeos mezclado con rosa

cla-ro. Debajo de la ceja se aplica un

ro. Debajo de la ceja se aplica un

pun-to de luz en un pun-tono beige brillante.

to de luz en un tono beige brillante.

19 19 20 20 18 18 18-23 18-23

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car el cambio realizado en la

car el cambio realizado en la

mode-lo. Para ello no hemos corregido sus

lo. Para ello no hemos corregido sus

rasgos, sólo hemos resaltado la

rasgos, sólo hemos resaltado la

be-lleza de su juventud y se le ha

lleza de su juventud y se le ha

saca-do mucho partisaca-do al juego de luces

do mucho partido al juego de luces

obtenido al mezclar dos colores en la

obtenido al mezclar dos colores en la

base de maquillaje.

base de maquillaje.

Los labios se perlan en un

Los labios se perlan en un tono rosatono rosa

fucsia claro, justo debajo de su p

fucsia claro, justo debajo de su per-

er-lado natural, por dentro y bien

lado natural, por dentro y bien

difu-minado. Para resaltar la juventud e

minado. Para resaltar la juventud e

inocencia de la modelo se aplica

inocencia de la modelo se aplica

cre-ma de labios de

ma de labios de color color rosa chicle.rosa chicle.

En el resultado nal podemos

En el resultado nal podemos

desta-...para resaltar la ...para resaltar la juventud e inocencia juventud e inocencia de la modelo se de la modelo se apli-ca crema de labios de ca crema de labios de

color rosa chicle...

color rosa chicle...

2

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1

155

 MAQUILLAJE

 MAQUILLAJE

DE TARDE/NOCHE I

DE TARDE/NOCHE I

Realizado por

Realizado por Ana Delgado Ana Delgado

E

El maquillaje de tarde/nochel maquillaje de tarde/noche

debe poder ajustarse a una amplia

debe poder ajustarse a una amplia

gama de circunstancias y ocasiones

gama de circunstancias y ocasiones

variadas, como por ejemplo salir

variadas, como por ejemplo salir

con amigas, asistir a un evento, o

con amigas, asistir a un evento, o

ce-nar con alguien

nar con alguien “especial”...“especial”...

anchas sin depilar, labios

anchas sin depilar, labios

desigua-les, pero bien conjuntados y con el

les, pero bien conjuntados y con el

Arco de Cupido bien formado, ojos

Arco de Cupido bien formado, ojos

grandes, aunque con ojeras y

grandes, aunque con ojeras y

hundi-dos, nariz un poco ancha. La piel del

dos, nariz un poco ancha. La piel del

rostro presenta una textura suave y

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claras

claras

15-19

15-19 asegurarnos de que toda la zona seasegurarnos de que toda la zona se

encuentra perfectamente limpia, y

encuentra perfectamente limpia, y

de que todas las imperfecciones,

de que todas las imperfecciones,

ro-jeces, y capilares rotos (en el caso de

jeces, y capilares rotos (en el caso de

que los haya) han

que los haya) han sido debidamentesido debidamente

“borrados” mediante la aplicación

“borrados” mediante la aplicación

Los ojos son la parte más

Los ojos son la parte más

importante del rostro, por su

importante del rostro, por su

ex-presividad y por su capacidad para

presividad y por su capacidad para

conectar con otras personas. Por lo

conectar con otras personas. Por lo

tanto a la hora de aplicar la sombra

tanto a la hora de aplicar la sombra

color beige dorado brillante en la

color beige dorado brillante en la

1

144 1155

Los ojos son la parte

Los ojos son la parte

más importante del

más importante del

rostro, por su

rostro, por su

expresi- vidad y por s

 vidad y por su capaciu capaci-

-16 16 9 9 7 7 88 99

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25 25 Se perla una línea

Se perla una línea

pe-gada a las pestañas superiores en

gada a las pestañas superiores en

color azul plomo. Con una sombra

color azul plomo. Con una sombra

tornasol azul pavo con pigmentos

tornasol azul pavo con pigmentos

verdes marcamos el ángulo natural

verdes marcamos el ángulo natural

que se forma en el borde externo

que se forma en el borde externo

del ángulo móvil. Las sombras

del ángulo móvil. Las sombras

bri-llantes o tornasoladas deben

llantes o tornasoladas deben

evitar-se en ojos cansados o en personas

se en ojos cansados o en personas

maduras ya que al acumularse

maduras ya que al acumularse

pue-den resaltar las pequeñas arrugas

den resaltar las pequeñas arrugas

en la zona del ángulo exterior del

en la zona del ángulo exterior del

20-24

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Se sitúa el color beige de

Se sitúa el color beige de

brillo justo en el lagrimal y se sube

brillo justo en el lagrimal y se sube

por la cuenca del ojo hasta

por la cuenca del ojo hasta

mezclar-lo con el ángumezclar-lo externo,

lo con el ángulo externo,

difumi-nándolo hasta lograr que quede en

nándolo hasta lograr que quede en

el centro del párpado móvil sólo el

el centro del párpado móvil sólo el

brillo de la sombra beige.

brillo de la sombra beige.

Con sombra negra enmarcamos

Con sombra negra enmarcamos

tan-to el párpado superior como el

to el párpado superior como el

infe-rior

rior y cerramos los y cerramos los bordes externosbordes externos

e internos del ojo.

e internos del ojo.

28-35

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Figure

Updating...

References

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