Make Up For Ever's Pro-Seminars: MUAs Jen Evans and Orlando Santiago
Jen Evans, an educator at the Make Up For Ever Academy, has worked with the brand's founder, Dany Sanz. Once Evans began working at the seminar, the influence is apparent: Her style is artistic and outside of any limitations. She is inspired by painters and artists outside of the makeup world: Without copying their work, she tries to work off the style and bring her own influence to it.
Evans is an advocate of sometimes going into a look without a plan (something she admitted she did for that day's seminar): It forces your creativity and often results in a look that's more impressive than one that was thought-out.
Her tips:
She applies powder blush to a tissue, then brushes it onto the face. This creates a more diffused, natural look on the cheeks. She wipes off the blush brush to blend so that no additional product is deposited.
She improvises with what's available: Evans used Post-Its and applied them in strategic spots across the model's face, which controlled where the glitter was deposited. Scotch tape is good for lifting fall-out, since it pulls with an adhesive when being lifted off.
When applying shadow, always blend upwards: Working down will draw the eye down, creating a sad or aged look.
Foundation is an art in itself: She is meticulous at applying foundation, using a high-definition sponge and dabbing it around the face, rather than spreading it like moisturizer. She works it into the skin until it's seamless.
She applies loose powder with a large puff, pressing it into the skin. Then she goes in with a fan brush and removes excess. Once again, the pressing motion deposits product where it's needed, and the brush removes any visible product.
Orlando Santiago is an editorial and fashion makeup artist. "It may be shallow, but it's the area I love," he said. Not only in makeup style, but also in personality, he seems to be Evans' antithesis: Despite working New York Fashion Week, he came into the room with pounding energy.
Santiago, like other educators at Make Up For Ever, applies the theory of color correction. He works on canceling out things like redness with green-based primers and products, rather than trying to cover them with concealer. The goal is to reduce the amount of concealer and foundation needed by correcting the pigmention first. "You work your way up, not down," Santiago explained.
The class overwhelmingly asked wanted Santiago to create a "dewy look" on the model. He began by applying Embryolisse moisturizer, pressing it into the model's skin. He uses this as a primer.
When models come in after a night of partying, he counteracts puffiness by mixing an eye serum with caffeine into the moisturizer. He also uses "a small amount" of Preparation H.
When contouring the face, stick to cool tones. Think in terms of natural shading, Santiago explained: It's not bronze; it's a cool brown.
A dewy look can be created on a person with oily skin. The focus becomes more on cutting down oily areas than highlighting with an illuminating product.
Makeup artists like Pat McGrath are in high-demand because they can create the look of perfect skin without any appearance of makeup. "That's money," Santiago said.
Editorial makeup isn't forgiving: If an artist makes a mistake that a retoucher needs to fix, the artist won't get hired again. As camera angles become more varied, mistakes can be caught more easily.
He just scored a Revlon ad campaign. Santiago was giddy with excitement when he told the class.
Evans is an advocate of sometimes going into a look without a plan (something she admitted she did for that day's seminar): It forces your creativity and often results in a look that's more impressive than one that was thought-out.
Her tips:
She applies powder blush to a tissue, then brushes it onto the face. This creates a more diffused, natural look on the cheeks. She wipes off the blush brush to blend so that no additional product is deposited.
She improvises with what's available: Evans used Post-Its and applied them in strategic spots across the model's face, which controlled where the glitter was deposited. Scotch tape is good for lifting fall-out, since it pulls with an adhesive when being lifted off.
When applying shadow, always blend upwards: Working down will draw the eye down, creating a sad or aged look.
Foundation is an art in itself: She is meticulous at applying foundation, using a high-definition sponge and dabbing it around the face, rather than spreading it like moisturizer. She works it into the skin until it's seamless.
She applies loose powder with a large puff, pressing it into the skin. Then she goes in with a fan brush and removes excess. Once again, the pressing motion deposits product where it's needed, and the brush removes any visible product.
Orlando Santiago is an editorial and fashion makeup artist. "It may be shallow, but it's the area I love," he said. Not only in makeup style, but also in personality, he seems to be Evans' antithesis: Despite working New York Fashion Week, he came into the room with pounding energy.
Santiago, like other educators at Make Up For Ever, applies the theory of color correction. He works on canceling out things like redness with green-based primers and products, rather than trying to cover them with concealer. The goal is to reduce the amount of concealer and foundation needed by correcting the pigmention first. "You work your way up, not down," Santiago explained.
The class overwhelmingly asked wanted Santiago to create a "dewy look" on the model. He began by applying Embryolisse moisturizer, pressing it into the model's skin. He uses this as a primer.
When models come in after a night of partying, he counteracts puffiness by mixing an eye serum with caffeine into the moisturizer. He also uses "a small amount" of Preparation H.
When contouring the face, stick to cool tones. Think in terms of natural shading, Santiago explained: It's not bronze; it's a cool brown.
A dewy look can be created on a person with oily skin. The focus becomes more on cutting down oily areas than highlighting with an illuminating product.
Makeup artists like Pat McGrath are in high-demand because they can create the look of perfect skin without any appearance of makeup. "That's money," Santiago said.
Editorial makeup isn't forgiving: If an artist makes a mistake that a retoucher needs to fix, the artist won't get hired again. As camera angles become more varied, mistakes can be caught more easily.
He just scored a Revlon ad campaign. Santiago was giddy with excitement when he told the class.
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