CHAPTER 18 Makeup for Darker Skin Tones

by Marietta Carter-Narcisse

---

 

 

 

The representations of color found in darker skin tones are as diverse as the ivory color of almonds to the deep black of ebony wood. The color range is so varied that it often becomes difficult to identify individual skin tone and then match that tone with an appropriate cosmetic. Only recently have major cosmetic manufacturers, commercial and theatrical, made a conscientious effort to include a broader range of shade selections in their primary cosmetic lines for persons of color. Historically, actors of color and their makeup artists have had to be creative and rather ingenious in formulating their own foundations and accent colors. Even with the expanded range of available colors it is nearly impossible to find a shade that matches every skin tone. Developing the skills to properly analyze skin tone will assist in the successful selection and/or custom blending of the most flattering and appropriate foundations, powders, shadows, blushes, and lipcolors that will work for any medium including film, television, video, print, and stage.

The primary challenge associated with applying makeup to actors of color is the ability to match the skin color with the proper foundation. This is crucial because using the incorrect foundation will cause the skin to appear muddy or ashy (slightly grey or unhealthy look to the skin.)

These challenges tend to escalate due to the following:

1. Improper training

2. Limited choices of products

3. Lack of proper understanding of how to properly choose products

4. Fear of dark complexions

5. Inability to determine the correct undertones

However, with proper training you can easily overcome these challenges and eliminate your fears when you realize that you must first match the skintone by choosing the proper foundation(s). If the foundation does not match when you first apply it, remove it. Many of us panic with the hopes that the more we apply, in some miraculous way, it is going to correct itself. If it doesn’t look right when you first start, it is not going to look right when you are finished, so you must remove it and start over.

Dark skin, generally recognized in colors of cream, tan, olive, copper, earth brown, dark red-brown, and ebony, regardless of ethnic origin and genetic mixture, can be separated into warm and cool categories or palettes. A warm palette is dominated by the color yellow and a cool palette by the color blue. The first step in determining a performer’s color category is to simply drape him or her in a pure white and then a creme colored cape or shirt (this is best done outdoors or in color-corrected lighting.) An objective visual observation is all that is necessary. Which looks better? If the bright white looks better, the performer falls into a cool palette. If the cream color looks better, he or she falls into a warm palette. There are some who will look good in both and therefore take on both palettes.

Determining Undertones

Skin tone is not always the most important factor in determining undertones. Skin tone may fade with age or deepen with sun exposure, but the basic undertone will never change. The skin contains a combination of three pigments: melanin, which produces a brown tone; carotene, which produces a yellow tone; and hemoglobin, which produces a red tone. The various combinations of these pigments creates the undertones, not the lightness or darkness of the skin. Other factors to consider are the natural hair color, the color of the eyes, and the complexion. The following steps will assist you in analyzing skin tone and determining undertones:

1. Hold a piece of white paper next to the inside portion of the wrist (you might also try cutting a 1-inch diameter hole in the paper and setting it on the wrist). The white paper will allow you to see the true color. Ignore any prominent vein coloring (veins have a blue-green cast). Look for the color lying just beneath the surface of the skin. It is likely to be blue, blue-pink, green, red, yellow, gold, or gold-orange. Do not confuse yellow undertones with a sallow complexion which is usually due to age or sickness.

2. Like skin, the hair also has undertones. Examine the hair color nearest the root under proper lighting and notice the prominent highlights. Look for a blue-black, reddish-burgundy, blonde, gold, ash, drab, silver-gray, or yellow-gray cast. Choose the most conspicuous color. Is it warm or cool? If the hair color is no longer natural, the color palette can be modified to accommodate the change. For example, if the natural hair is golden-brown (warm) and is changed to jet black, the palette automatically becomes cool. Even though the skin tone, foundation, and powder remain warm, due to the cool hair color, the person takes on a cool palette of coloration for the eyes, cheeks, and lip color. Hair undertones, then, are the determining factor when choosing the palette for accent colors. In general, warm and cool palettes will be determined by the following hair colors:

Warm: Light to medium-dark brown with golden highlights

Red or auburn

Light to medium-dark blonde with golden highlights

Taupe, beige, gray (not silvery white)

Cool: Dark-brown to blue-black

Salt and pepper or silver-white

Dark brown to jet-black with mahogany or burgundy-red highlights

Platinum blonde or ash blonde

Light to medium brown hair with ash or drab highlights

3. Examine the eyecolor. Blue, blue-green, blue-gray, and blue with gold flecks may indicate a cool palette, while hazel, brown, and brown with gold flecks may indicate a warm palette.

4. A person’s complexion is also another tool in determining the skin’s undertones. For example, dry skin is usually associated with a cool palette, freckles with a warm palette, and one with exposed surface capillaries can be either cool or warm.

Once the undertones have been categorized as warm or cool, each category is then divided into two groups: Group I and Group II—Cool; and Group I and Group II—Warm (see FIGURE 18-3). Group I Cool is defined by a cool red or mahogany undertone; Group II Cool is defined by cool red that is often mixed with a green or ebony undertone; Group I Warm is defined by a warm golden undertone; Group II Warm is defined by a warm copper undertone.

Group I Cool—Blue-based color palette
Undertone:	Cool—red (mahogany) (this group has more red than Group II—Cool)
Skin tone:	Light to medium olive-brown, light to medium brown, rose-brown
Hair color:	Medium brown, dark brown, blue-black, black with reddish-burgundy highlights, silver gray
Makeup/Accent colors:	Deep red, blue-red, true red, brown-red, purple, fuschia, violet, aubergine
Group II Cool—Blue-based color palette
Undertone:	Cool—red, sometimes green (ebony)
Skin tone:	Medium to darker from dark olive to blue-black (sometimes the skin looks dry or slightly ashy)
Hair color:	Medium brown to black
Makeup/Accent colors:	Deep red, raspberry, cognac, berry, magenta, burgundy
Group I Warm—yellow to yellow-orange color palette
Undertone:	Warm—golden
Skin tone:	Fair, light yellow-brown to light golden-brown
Hair color:	Blonde, red-auburn, brown, gray-taupe, gray-brown
Makeup/Accent colors:	Peach, apricot, salmon
Group II Warm—yellow-orange to red-orange color palette
Undertone:	Warm—copper (this group has more red than Group II—Warm)
Skin tone:	Medium to dark yellow brown, medium to dark golden-brown (the skin may have a slight oily appearance)
Hair color:	Medium to dark brown, blue-black with reddish-burgundy highlights
Makeup/Accent colors:	Clear red to orange red or true red, red-brown

FIGURE 18-3 Undertones and color palettes for darker skin

Within each group in FIGURE 18-3 probable skin tones, hair color, and makeup colors are listed. The skin tone is directly related to the foundation color. For a light to medium olive-brown skin tone, a light to medium olive-brown foundation should be chosen. The foundation must, however, contain a small amount of undertone color to perfectly match the skin. The makeup color palettes including blush, lip color, and eyeshadow are determined by the undertones of the skin and the hair. They are either cool or warm, blue-based color palettes or yellow-based color palettes, and are defined by how much or how little red pigment they possess. A yellow to yellow-orange palette, for example, using peach, apricot, and salmon accent colors contain less red than the color palette using orange-red and true red for its accent colors.

Choosing a Foundation

When choosing a suitable foundation, look for formulas containing a mixture of yellow, red, and yellow-green tones with the brown pigment. Check the color for clarity by smearing a sample onto a white piece of paper. Are the added tones clearly visible in the foundation or does the foundation simply appear muddy? If any of the foundation samples appear to have a white cast to them, they will not be appropriate for dark skin. These foundations may contain talc or titanium dioxide and will leave an ashy or gray cast on the skin. These additives are used to create an opaque formula to enhance coverage. Manufacturers who produce a broad range of foundations and accent colors appropriate for darker skin tones include: Black Opal, Fashion Fair, Iman, Bobbi Brown, MAC, William Tuttle, RCMA, Mehron, Kryolan, Ben Nye, Joe Blasco, Makeup Forever, Maybelline, and Cover Girl’s Queen Collection (to name a few). Additional foundations available include mineral based powder foundations such as Colorscience, airbrush foundations, such as Temptu, Kett and Dinair and Classified Cosmetics Era spray on foundation.

After selecting the basic color palette in a light to medium or medium to dark range, include a few “mixing colors” or “blending colors”; such as foundations that are highly pigmented with yellow, yellow-green, red, or orange-red. These mixing colors are indispensable in any makeup kit and are used to adjust the undertones in the basic brown foundations. Some examples of useful mixing or blending colors are M.A.C. cream color in orange and red, William Tuttles’s Chocolate Cream and Toasted Almond, Fashion Fair’s Copper Glo and Tawny Glo, RCMAs Shinto Series, Visiora’s 101 and 102, and Black Opal’s Truly Topaz.

As mentioned in previous chapters, foundations are used to give the skin an even texture, to enhance skin tone, and to provide a smooth canvas for color and dimension. The following techniques provide you with the ability to begin building dimension into the face with the initial foundation application.

TECHNIQUE A—USE THE FACE AS ITS OWN PALETTE Many persons of color may have unevenness in the skin; that is the forehead, chin, and outer areas of the face may be darker, and the cheek areas lighter.

1. Choose two foundations—one that closely matches the outer areas of the face and a second that closely matches the cheek areas or inner areas of the face.

2. Contrary to what most people think, apply the darker foundation to the darker areas and the lighter foundation to the lighter areas then blend together on the face. The face will appear even in color when applied like this. (Note if you blend the colors together you will not receive the same effect, sometimes this causes the subject to look gray. Also if you apply the darker foundation to the lighter area, it darkens that area and that is not going to be flattering to your subject; you want to keep that area of the face light. Secondly, if you apply the lighter to the darker, it might cause to darker area to look gray and ashy. Rule of thumb: you cannot make dark skin light, it does not work.)

3. For concealer, use foundation shades that are in the orange family such as the Fashion Fair colors. These colors tend to neutralize darkness under eyes and blend better without creating an ashy look. With practice you will soon see that orange shades tend to blend better into the skin. Ben Nye Beard covers, Mac cream Orange and Makeup Forever tend to work very well as concealers or neutralizers on darker skin tones. Yellow shades tend to go very ashy and sit on top of the skin.

4. Use loose powder to set the foundation. Powders should be two to three shades lighter, preferably translucent. No color powders work great; they can be blended with darker powders such as Ben Nye’s Topaz or Chestnut, Fashion Fair’s powders or Black Opal’s, to set concealers/neutralizers, Laura Mercier Secret Brightening Powder # 2 works great.

TECHNIQUE B—APPLY FOUNDATION ONLY WHERE NEEDED Apply foundation only in the areas where needed. For example if the forehead is smooth and even and does not need coverage, apply under the eyes and the rest of the face where necessary. Blend, then powder to set the application. The powder will help to even out the entire face and make it look smooth and flawless.

Concealers, Highlighters, and Neutralizers

Concealers and neutralizers for dark skin are used much the same way as for other skin tones: to cover imperfections such as scars, blemishes, discolorations, and under-eye circles (see Chapter 8, CONCEALERS). For medium to very dark complexions, it is important to use concealers and neutralizers in the orange to orange-red family such as Ben Nye’s Beard Covers, Fashion Fair’s Copper Glo and Tawny Glo, M.A.C. Orange or Red cream colors. These products work well to neutralize or eliminate dark spots on the face, especially for those suffering from hyperpigmentation (see below). Concealers are not always distinguished as a particular product, but are a function of any product that provides the appropriate coverage, enough to diminish the effects of unwanted discolorations.

Unlike concealers and neutralizers, highlighters are used to exaggerate and project bone structure and facial features. Use highlighters in the gold to orange, orange-red family of colors such as Black Opal’s Golden Glow, M.A.C. Cream Color base in Gold or Bronze. Foundation colors one to two shades lighter than the primary foundation are also recommended for under the eye and for other areas of discoloration or uneven skin tone. Highlighting under the eye may not even be necessary since natural discolorations do not contrast as much against darker skin.

Contouring

The same theoretical approach and techniques discussed in Chapter 11 can be used when contouring light to medium skin tones. Contouring or shadowing with darker colors on dark to very dark skin, however, can be impractical and often unflattering. When the skin is very dark it is best to simply highlight the features and allow the color of the skin to act as its own contour. This works for the eyes, cheeks, nose, jaw line, forehead, and temples.

For those occasions when your director (film, video or theater) insists on more contouring, small amounts of black can be blended into the foundation color. While some makeup artists believe contouring very dark skin does not work under any circumstances, others will do what is necessary to successfully achieve the desired effect.

Powder

When the skin’s natural oils mix with the foundation and the powder, the powder will darken by two to three shades; so it is better to use finely milled pigmented powders that are two to three shades lighter than the foundation. Use a loose powder to set foundation and pressed powder (close to skin color) for touch ups. For a truly matte finish use a velour powder puff. For lighter coverage, apply powder with a large powder brush. To remove any powdery residue, use a clean large powder brush to buff the face in a circular motion. Avoid powders containing too much talc or titanium dioxide because they may appear dusty or leave a powdery residue which could look gray and ashy. Many manufacturers including Black Opal, Bobbi Brown, Ben Nye, Fashion Fair, M.A.C, Clinique, and Prescriptives provide pigmented powders to compliment darker foundations. The availability of mineral powder foundations provide additional choices for makeup artists as well as actors of color. Also available are true no-color powders such as Ben Nye’s Neutral Set, RCMA No-Color, and Makeup Forever’s High Definition Powder. All of these powders can be used on anyone. (Needs to be used sparingly.) In addition, add to your makeup kit a soft yellow-orange powder to mix with orange-brown, yellow-brown, or red-brown tones.

Blush

The primary concern when choosing a blush or cheek color is to avoid those products that appear ashy (a dusty gray color) on the skin. This is a concern consistent with most cosmetic products for people of color. Suggestions for choosing colors for specific skin tones and color palettes are listed on the color chart in FIGURE 18-3. For application techniques, refer to Chapters 8, 11, and 17. For added dimension, use cream blushes (no muted colors) or cheek tints to create a radiant look. When using cream products remember to apply after foundation and before powder; then enhance cream application with a light dusting of a powder blush. It is important to remember that darker skin tones do not “blush” as lighter skin tones do. Keep this in mind when creating a natural look.

Eyeshadow

To create long-lasting eyeshadow use an eyeshadow base, such as Fashion Fair’s Cover Stick, or apply the foundation over the eyes, blend thoroughly, then powder with Laura Mercier’s Secret Brightening Powder # 2. This technique removes excess oil and provides a smooth dry canvas for eyeshadows to adhere. Powdered eyeshadow provides a softer, more even consistency and will also help absorb the natural oils from the eyelids. Apply eyeshadow with a cotton swab applicator for a soft look, a sponge-tipped applicator to create a smooth and even texture, and with your fingers for heavier coverage. Choose deep natural tones such as sable, coffee, and espresso, or vibrant jewel tones such as blue-green, purple, and wine or shades of gray, navy blue, and muted green. Highlight the lid and below the brow with bone, matte yellow, pink, light coral, or beige in warm or cool tones as suggested by the undertone palette. With dark skin often providing its own shadow, contouring the crease may not be necessary.

Lip Color

Lip color can be custom blended by mixing equal amounts of primary or true red with the foundation color. While this is not necessarily a rule it will guide you towards a family of colors appropriate for a given skin tone. This method, along with the correct undertone palette of colors, will assist you in making appropriate choices for any skin tone in a variety of performance venues.

The following suggestions are intended to assist you in developing techniques for proper lip color application:

1. Uneven lip color: Many dark-complexioned men and women have a certain amount of discoloration on the lips. It is found most often in the lower lip which tends to be pink towards the center. Even out the color by applying a base color with brown pencil over the entire lower lip. Set the pencil with a light dusting of translucent powder and blend off with a damp sponge. Then apply the lip color over both lips. This will produce a more accurate and long-lasting lip color. Using the same pencil technique for men, apply a lip conditioner over both lips, replacing the lip color and powder. You can also use Fashion Fair’s Lip Balancer which balances and color corrects this discoloration.

2. Full lips: Full lips cannot be made smaller, but you can create the illusion of smaller size. To downplay the size of full lips, simply use soft natural tones. Bright colors and colors of high value will only draw more attention. Remember, colors of high value and intensity project while low value, low intensity colors recede. Another method is to first line the lips just inside the natural lipline before filling in with a soft, natural color.

3. Skin tone and lip color: As a general rule, the darker the skin tone the darker the lip color. For performers working in large venues, however, choosing a color that assists in projecting the facial features far outweighs the need to follow the latest fashion trends. Contouring the lower lip with highlights of vanilla, gold, or bronze will help to add shape and dimension.

The following list of cosmetics is presented here as an example of one performer’s skin care and makeup regimen for performance.

Foundation: Matte Finish (powder): M.A.C. Studio Fix C-4

Brows: Maybelline Blonde pencil

Eyeshadow: Makeup Center Brick
Blush above the crease

Eyeliner: Yves St Lauren Eyeliner Moiré Liquid

Eyeliner # 1 Steel Reflections or LOreal

Noir.

Mascara: L’Oreal Voluminous Black

Adhesives

On very dark skin, some adhesives such as spirit gum tend to crystallize in extreme weather conditions. To remedy this, apply a small amount of foundation over the lace and crystallization with a small stiff brush until it blends into the skin or simply remove the lace pieces during the earliest break, clean, and re-apply.

Lighting

Working under intense bright lights is not usually a problem for actors of color. Unlike their lighter-skinned co-workers, bright lights do not “wash out” the skin tone and therefore requires less makeup adjustments. Warm lighting colors are often more flattering to darker skin tones because they accentuate the yellow-red undertones already present in the skin. The challenge comes as the inescapable cool blue shades of evening light wash across the stage. Skin tones and facial features in the Group I and II Cool Palette often become darker and bluer and loose much of their definition. This problem is compounded when the wardrobe is also in the same cool palette. From a professional standpoint, it is your responsibility as a makeup artist to develop strong and meaningful collaborative relationships with the costume designer, lighting director, lighting designer or director of photography, because they play an integral role in having your makeup appear as you intended it to be. Forming these professional relationships with your colleagues will also help develop your confidence and respect as an artist as well as open the door to proper communication with these departments. Remember, makeup is only flattered or enhanced by the quality of light that it is seen under as well as the costume color reflecting onto the face.

Skin Types and Conditions

Makeup artist should also have a basic understanding of skin types and basic routines that work with each skintype.

SKIN TYPES There are three basic types of skin: dry, oily, and combination. Dry skin lacks a natural sheen, looks dull, is prone to developing lines and wrinkles, and tends to age prematurely. This type of skin has small pores, is lacking moisture, and has under-active sebaceous glands (produces sebum, the skin’s natural oil). Recommendations for skin care include cleansing creams, cleansing lotions, and moisturizers (day and night) formulated for dry skin. Moisturizers should be applied under creme-style foundations, blushes, eyecolor, and lipsticks.

Oily skin appears shiny and is greasy to the touch. This type of skin has active sebaceous glands and is generally characterized by the appearance of large pores. This type of skin is slightly thicker than other types and is susceptible to pimples and impurities under the surface. To prepare for makeup application, clean the skin twice a day using a facial soap (not body soap) followed by a facial cleanser, both formulated for oily skin. Clean the skin gently; excessive scrubbing with a wash cloth may only cause the skin to produce more oil. On a weekly basis, apply a cleansing mask (specifically for oily skin) to remove impurities left behind from daily cleaning. The drying action will absorb excess oils and give the skin a smoother appearance. Apply an oil-free moisturizer for daily wear, but avoid nightly applications and products called night creams. They tend to aggravate oily skin. Many actors with oily skin recommend regular exfoliation with an alpha hydroxy acid. This product helps promote soft, smooth, younger looking skin by slowly removing dry skin cells without the damaging effects of other more abrasive cleansers.

In general, the darker the skin, the more shiny it will appear. Mattifying creams (that dry to a matte finish) and oil-control lotions can be applied under oil-free foundations to help stop excessive shine. When applying foundation on very oily skin, dampen the sponge in very warm water before applying foundation (if cream based); this technique helps to absorb some of the excess oils from the skin. However it is best to use a long lasting liquid foundation instead of a cream-based which tend to be oilier. Lancôme’s Teint Idol or Revlon’s Color Stay are good examples of liquid makeup with excellent staying powder. These makeups dry very quickly because of the volatile silicone oils, so it is best to work on small areas of the face and blend quickly instead of applying all over the face at the same time. When these foundations dry it become very difficult to remove them. Once set, apply a setting powder with a puff. Rule of thumb on oily skin: always powder the foundation. If you are having trouble with powders, use a no color powder first to set the foundation, then buff off excess, then use a press powder about two shades lighter than the actor’s complexion and apply a small amount to remove any residual from the no-color powder.

Antishine products such as M.A.C’s Matte, Smashbox’s Antishine, Lancome’s Pure Focus T-zone Matifier, Mehron’s Touchup, Peter Thomas Roth’s -Max Anti-shine Mattifying Gel, Benefit Cosmetics-Dr Feelgood, and Origin’s Zero Oil can also be used but must be applied sparingly. They can be applied before or after the foundation. Test each product before the initial application as some of them may turn gray or ashy on dark skin.

The most common skin type is the combination skin. This type of skin usually has an oily T-zone (across the forehead and down the center of the face from forehead to chin) and normal to dry areas surrounding the zone. Each area has different needs and must be cared for separately.

SKIN CONDITIONS Hyperpigmentation is marked discoloration recognized by unevenness in the skin color where some areas of the skin look darker than others, including black spots on the face usually from the incorrect extraction of impurities from the skin. Heavy darkness under the eyes or on the lids, cheek area, around the mouth and neck are areas where hyperpigmentation might be noticeable. Hormonal changes during pregnancy can also contribute to this condition. Note: darkness under the eyes may also be due to allergies or might be genetic.

It is very difficult to cover these discolorations with a lighter foundation because it will simply become a lighter dark spot. It is best to neutralize these discolorations with an orange-based product, and then stipple with a foundation that matches the skin-tone. Blend the foundation and the neutralizer together eliminating all edges. Powder and apply makeup colors as usual. Realize that you might not be able to completely eliminate all of the discoloration but this technique will soften and diffuse the area so that the naked eye is drawn directly to it.

Pseudofolliculitis is the medical name for the inflammation of the follicle or ingrown hair. Many men with overly curly hair suffer from this condition. It can cause infection and lead to scarring. Products such as Tend Skin and Bump Stop can be used before and after shaving to help prevent this condition. Facial massage and regular exfoliation with a gritty facial scrub before shaving are also recommended. Some men who have problems shaving use depilatories such as Magic to remove facial hair. Depilatories are rather strong chemicals that dissolve the hair but must be monitored carefully to avoid burning the skin. Use minimum makeup to cover this condition as the makeup can be unsightly and focus attention on the problem.

Vitiligo is a condition characterized by the loss of pigment on areas of the skin. Opaque camouflage systems such as Kryolan’s Dermacolor, Mehron’s Tattoo Cover, Dermablend, and Fashion Fair Cover Tone Concealing Creme products can successfully add color back into these areas.

Technique for covering Vitiligo:

1. Stipple light areas with one of the above foundations that match closely to the darker skin color.

2. Blend edges properly.

3. Lightly powder with setting powder (Dermablend has a great powder).

4. Cover entire face with another foundation that matches the darker area of the pigmentation. Blend properly and powder to set.

5. Apply colors as usual.

Keloids are large dark scars caused by injury to the skin or by infection. People predisposed to keloids should see a skin care specialist before considering cosmetic treatments such as ear piercing.

HIGH DEFINITION MAKEUP—is makeup designed to be used with HD technology which is different from standard television. The higher resolution makes everything more magnified, so makeup application has to be cleaner and lighter. There is very little room for error and HD, unlike traditional television, is not forgiving. The key to successful makeup application for HD is keep it light and blend, blend, then blend some more. Several companies have started to introduce HD products into their general lines such as: Cargo–Blu-ray High Definition Makeup, Smashbox–High Definition–Health FX Foundation, Christian Dior Capture Totale–High Definition Serum Foundation, Makeup Forever–HD Invisible Cover Foundation.

The Basic Makeup Kit

A well stocked makeup kit should contain a variety of products in a range of colors form alabaster to ebony. Great care must be made when selecting products for medium to dark blue-black complexions.

The following list of items is recommended for the professional makeup artist. Individual makeup kits for the performer need only include those products that compliment the performer’s face and character range. This may include a proper foundation, a powder that does not change the value of the foundation or turn it muddy, and accent colors in both warm and cool palettes that compliment the skin and a variety and range of possible wardrobe colors.

      I. Skin Care

Makeup remover

Oil-free cleanser

Alcohol-free astringent/toner

Oil-free/hydrating moisturizer

Broad spectrum UVA/UVB sun screen

Castor oil—for use under dry eyes. Mix a small amount with concealer, then apply. It is also used to condition brushes that are used for creme applications.

Benadryl—cream/spray for allergic reactions

Hydrocortisone cream 1%—for allergic reactions

Styptic—liquid/pencil to stop bleeding

Lip balm

Makeup wipes

    II. Foundations

Creme

Creme to powder

Liquid

(Colors should range from alabaster to ebony in warm and cool palettes with red and yellow mixing colors.)

  III. Concealers/Highlighters

Light to medium to dark in creme and pencil form

Orange to cover brown/blue discolorations

Beard cover

Orange-red foundation

Yellow to cover red discoloration

Mellow yellow

Erase

Gold to highlight medium to very dark skin tones

Tattoo cover

   IV. Powders

Loose

Pressed

An assortment including translucent, yellow, yellow-pink, light, medium, dark (not very dark)

     V. Cheek Color/Blusher

Powder

Creme

Gel

Liquid

An assortment including light to medium skin tones, neutrals such as, apricot, beige, brown, and aubergine dark to very dark skin tones, red, orange, violet, brown, gold, bronze

   VI. Lipcolors

An assortment including metallic colors, gold, white, silver, pink warm and cool colors clear lip gloss lip pencils in several shades

 VII. Eyecolors

Powders—loose, fairy dust, pressed

Pencils—white, black, brown, taupe, auburn, plum

Cremes—same

VIII. Eyelashes

Assortment of shapes and sizes in brown and black:

individual

short

long

angled

full

demi

Duo adhesive in white and dark

   IX. Mascara

Cake—black, brown, clear

Liquid—same

     X. Eyebrow Kit

Powder

auburn, taupe, brown, black, charcoal

Mechanical pencils

blonde, taupe, brown, black, gray, ebony

   XI. Other

Derma Shield/Liquid Bandage to protect open wounds and cuts before applying makeup

Anti Shine to remove shine

Below is a list of makeup websites

www.fashionfair.com

www.dermablend.com

www.interfacebeauty.com

www.makeupforever.com

www.maccosmetics.com

www.alconeco.com

www.nigelsbeautyemporium.com

www.mondastudio.com

www.cinemasecrets.com

www.naimies.com

www.frendsbeautysupply.com

www.bennye.com

www.kryolan.com

www.lancome-usa.com