Get This Look:

Eyes: Twiggy’s eyebrows were nicely shaped and natural. To achieve her classic look, fill in and shape the eyebrows with the Taupe Eye Pencil and Brush 210. Begin above the tear duct and continue with equal weight throughout the brow. Apply the Brow Fix to the eyebrow to manage unruly hair and create a more polished appearance. For a demi-matte highlight on the brow bone and the top of the lid, blend the Bone and Cashmere Eye Colors with Brush 330. For an intense silver color, apply a wet application of the Tinsel Eye Color with Brush 350. Begin at the top lash line and build up onto the lid with a tapping motion. Never spray directly into the product. Wet the bristle and then dip the brush into the eye color.

The “Twiggy Look” has a defined line in the crease. There are many ways that one can achieve this look. I used the Black Eye Pencil with Brush 210 in a technique that combines the durability of a pencil with the precision of a brush. The position of the line will vary according to eye shape. For better positioning, try keeping your eye open as you apply the line. To define the eye, use the Black Cake Eyeliner with Brush 100. Wet the brush and spin it in the Cake Liner to activate. Begin on the inner corner of the lash line. Have the model look in the opposite direction. Point, lay and drag the brush to the center of the eye. Have the model look in the opposite direction once more, and repeat the point, lay and drag technique from the outer corner. Leave a slight wing toward the outer corner of the eye.

The mid 60’s were big on lashes, so the fuller the better! Coat the lashes with the Cream Mascara. Next, apply the strip lashes. Trim to size if necessary. After the lashes are placed on the root of the lash line, camouflage the plastic strip and the adhesive with the Black Cake Eyeliner and Brush 100.

Sometimes lashes in the 60’s were painted on the lower lid. To emulate this look, apply the lower lash strips flipped side up. Rest the strip under the natural lashes. To softly camouflage the plastic strip on the lower lash line, use the Black Eye Pencil with Brush 210.

Cheeks: In the 60’s they didn’t use much cheek color. Try the Rose Petal Cheek Color with Brush 710 to create a soft, warm glow. Start at the back area of the cheekbones. In circular motions, blend the Rose Petal downward toward the center of the cheek.

Lips: Lips were left looking pretty nude in this era, and were sometimes painted with titanium based lipstick in pale shades. To get this look, use the Sandy Beach Lipstick with the Iced Latte Lip Gloss. For a precise application, apply with Brush 310.

Participants are responsible for bringing their own model, wardrobe and make-up. There are ten spots available in the morning, starting at 8AM, with the last shoot happening at 11:30AM. There are also ten spots available in the afternoon, starting at 12PM, with the last shoot happening at 3:30PM. Once scheduled, you must arrive by 8AM for the morning shoot and by 12PM for the afternoon shoot. Space is limited to 20 attendees.

To reserve a spot in LA, stop by the front desk or contact our receptionist at 818-729-9420 or reception@mud.edu

To reserve a spot in NY, stop by the front desk or contact our receptionist at 212-925-9250 or jsilva@mud.edu 

Red was one of the hottest color choices last night – as exemplified by Kira Sedgwick, who rocked a long, red Pucci gown with two sexy slits at her sides. Her hair was soft and full of bounce, and her makeup was perfectly sheer and natural, yet glamorous. Emma Stone donned a shorter hemline in a black flirty Alexander McQueen. Clean, neutral eye shadow and simple black eyeliner paired with a bright reddish lip made her overall look pop. Another absolute stunner was the lovely Jessica Chastain, nominated for Best Supporting Actor in “The Help”. Her Veronica Lake hairstyle was as soft and sultry as her makeup, which consisted of clean coverage, matte shadows, and a lovely warm nude lip.

My favorite look of the evening was that of “My week with Marilyn” star, Michelle Williams. She was radiant in a red Valentino floor length dress with elaborate lace sleeves and neckline. For eyes, she wore black eyeliner on top and a soft forest green liner along the bottom. Her skin was glowing, and her neutral lip beautifully complimented her short and sexy pixie cut. Here’s how to get Michelle’s red carpet look:

Face: Begin by applying MUD's Cream Foundation in your shade with the #910 Foundation Brush. Blend well and set using a small amount of Dual Finish Pressed Powder to achieve maximum coverage while maintaining a dewy and natural glow.

Eyes: Start on top by applying Apricot Eye Color all over the lid as a base color with the #800 Brush. Use the same brush to apply a small amount of Canyon Eye Color into the crease for a little depth.

For bold and beautiful eyeliner, use Black Cake Eyeliner and the #100 Brush. Begin at the inner corner of the eye, and pull outwards toward the outer corner – giving the line a very slight wing.

For the lower lash line, use the #210 Angle Liner Brush and the Black Forrest Eye Pencil. Using the brush in combination with the pencil will give you more precision than just using the pencil. Start from the outer corner and work your way in. Using the same tool, apply a very small amount of Shamrock Eye Color over the top of the Black Forrest. Blend out softly with a clean #810 Smugger Brush. The trick here is to achieve a hint of Shamrock along the bottom – without the green hue becoming the focal point of the overall look.

To highlight, apply Honeysuckle Eye Color to the brow bone using the #320 Brush. Should filling in those brows be necessary, try a blend of Canyon and Espresso with the #210 Brush.

Now you are ready for Individual False Lashes and two luscious coats of MUD's Cream Mascara using the #510 Duster Brush.

Cheeks: Use the #710 Powder Brush to apply a small amount of Glow Cheek Color on the apple of each cheek. For a shimmery look, apply a little Honeysuckle Eye Color with the #710 Brush and dust on top of the cheek bones ever so softly.

Lips: Apply a coat of Rose Clay Lipstick using the #310s Portable Lip Brush. For a creamier texture, add a bit of Cantaloupe Lip Glaze over the top.

Smile, because you’re ready for your close up!

You'll need: An 8 Hole Empty Color Palette

The Bone, Honeysuckle, Chamois, Sienna, Espresso, and Onyx Eye Colors

Glow and Bubblegum Cheek Colors

A Black Eye Pencil

And a Travel Brush Kit

First: create a smooth surface for the eye color treatment by applying a Cream Foundation to the top lids and setting with a Loose Powder. Begin by applying a mixture of Bone and Honeysuckle – the perfect demi-matte for highlight – to the brow bone. Use Brush 330s to blend the combo from the base of the eye brow to the crease of the eye. Use Brush 800s to build a soft shadow into the highlight by working the Chamois Eye Color into the crease with a windshield wiper motion.

To reinforce the crease and add warmth, use Brush 800s with the Sienna Eye Color. Start from the outer corner of the crease, making sure to lighten the pressure as you follow to the inner corner. This will allow you to sheer out and taper the eye color. Be sure to lightly blend upward into the Chamois as you do so. At this point, you should have a gradient of color from the crease of the eye into the highlight.

Use Brush 330s with the Espresso Eye Color and stipple on the entire lid. Achieve the smoky effect by using Brush 810 to connect the outer corner and create a deep drop shadow.

For more drama, deepen the outer corner with the Onyx Eye Color. Blend from the outer corner of the top and lower lids. Be careful not to drop the outer corner of the eye. Line the top and lower water line with the Black Eye Pencil and top this smoky look with a generous coat of Crème Mascara.

Don’t forget to dust your cheeks with Glow or Bubblegum Cheek Color.

A New Jersey native, Corso grew up admiring make-up. Movie monsters captured his attention as a child, and it was at a young age that he set the goal of becoming a make-up artist. Inspired by Young Frankenstein, he started reading books about monster creation, and soon became a student of make-up. “I loved anything out of the ordinary, and I loved drawing faces,” Corso said.

Corso moved to Los Angeles in 1985 to attend make-up school and pursue his dream. Interested in Special Effects, he worked in Steve Johnson's lab, XFX. “Steve was the one person who could come and make what I thought was good, perfect,” he explained. Corso was also given an opportunity to work with Rick Baker – his biggest influence – on films like Planet of the Apes and How the Grinch Stole Christmas. He encouraged the students to absorb as much information as possible from everyone they work with.

Corso accomplished his goals one by one, and he advised his audience to do the same. “Set a goal and you will start making choices to reach that goal.” Admitting to a competitive nature, he made an example of his initial desire for an Oscar – a goal he achieved by continuing to work as a make-up artist on feature films.

Once accepted into the union, Corso worked alongside Ve Neill on movies like Batman and Robin, and on Steven Spielberg films. He became personal make-up artist to Harrison Ford and contributed his skills to Indiana Jones and the recent Cowboys and Aliens. He is Jim Carrey's personal make-up artist, and they are on their fifteenth film together.

Corso has won several awards, including two Emmys for The Shining in 1997 and Grey Gardens in 2009. Most notably, he won an Oscar for Best Make-Up in Lemony Snicket's A Series of Unfortunate Events in 2004.

Corso concluded his talk by emphasizing the importance of making friends with everyone. He also explained that when working on set, it is necessary to have many skills – not just artistic talent. “You have to be able to work well with others and give production exactly what they want.”

The students seemed inspired and even slightly star struck. It was a great honor to have someone so accomplished come and encourage the artists that will soon be the future of the make-up industry.

Get This Look:

Face: For a full, flawless coverage, I used a Cream Foundation, a Cream Highlight, a Cream Shadow, and a Corrector. To get a proper base match, apply the foundation directly under the ear where the face and neck connect. You’ll know you have a proper match once the base disappears. Tip: When using Cream Highlights and Shadow, mix with the base to achieve one color that is two shades lighter and one that is two shades darker.

First, apply the highlight to the highest points of the face -- the nose, the brow bone, and the areas above the cheekbone and jaw line -- with Brush 940. Use the brush to blend the highlight and the shadow with the base. To add depth, apply the shadow to the contours of the face, such as the jaw line and the area below the cheekbones. Tip: Blend the shadows upward and downward to create soft edges.

To correct unwanted shadows around the eye, I used a combination of the Highlight and Corrector with Brush 930.

Lastly, set the makeup with a Loose Powder. I used Shell with Brush 720 for an extra smooth surface. Use a stipple technique to prevent foundation removal.

Eyes: Eyebrows in the color films of the 1950’s were usually narrowed and well defined, leaving the face well framed. The eye colors were soft and natural, adding dimension to their likeness on-screen. Cake eyeliner or liquid were used to make a sharp, highly defined contour on the upper lid called the “glamour eyeliner”. I created a 4-Hole Eye Color Palette for this Marilyn inspired makeup application. The colors are highly pigmented and can be used either softly or dramatically.

Begin with the eyebrows. I used the Taupe Eye Color with Brush 210. To recreate Marilyn’s look, make sure to add a point to the peak of the eyebrow, directly over the iris. Taper the outer corner of the brow to a fine point. Use the Brow Fix to control unruly hair and achieve a more polished look.

After the eyebrows are completed, move on to the eye color application. Begin by applying Highlight to the brow bone with Brush 350. I mixed the Bone and Ice Eye Colors to create a beautiful demi-matte. Leave the crease untouched and repeat the application on the lid. Stipple the Ice directly on the center of the lid to add dimension, and blend the Ice into the demi-matte.

To add a soft dimension in the crease that is perfect for this classic 50’s look, apply the Chamois Eye Color with Brush 300.

I recreated Marilyn’s eye liner with Black Cake Liner and Brush 100. Spray water onto a palette, and spin the brush in the water to shape the bristles into a fine point. Activate the Cake Liner with the wet brush, making sure to spin the brush as you do so. Use the point, lay and drag method from the inner corner of the eye to the center. Point, lay and drag the brush from the outer corner and meet the liner in the middle. Use a generous coat of Volumizing Mascara to thicken and darken the lashes before the false lash application.

To apply false lashes, measure the length of the lashes to the eye. Occasionally, the strips may need to be trimmed to fit the eye properly. Apply the adhesive to the strip and wait for the glue to become tacky -- about 20-30 seconds. Place the strips into the lash line, where the root of the lash meets the skin. Once the glue is dried, camouflage the adhesive with Cake Liner and Brush 100.

Lips: In the 1950’s, red-infused colors were popular lip colors. To get this look, line the lips with Brick Lip Pencil. Begin in the Cupid’s Bow and work your way to the outer corner. Next, line the lower lip. Tip: Use a reference to apply a period lip, as each period has a distinctive shape.

Fill in the lips with the Rustic Lipstick and Brush 310. Set the lipstick with a tissue and apply Loose Powder with Brush 710. Separate the 2-ply tissue, rest one side on the lips, and lightly dust the powder.

For the final touch, use the Black Eye Pencil to create the Monroe mole on the left side, just above the center of the nasal labial fold.

For tattoo coverage, apply the Deep Brown Corrector directly onto the tattoo with a Brush. The Brush may vary according to the size of the tattoo. Be sure that you only apply the full pigment to the tattoo itself. Try not to color ones natural skin tones. Lightly powder the Corrector with a loose powder to prevent it from mixing with the Cream Foundation. Match the skin with a Cream Foundation and stipple the base with a Brush or Sponge. Set the makeup with a Loose Powder and Brush 710 or 720.

The Deep Brown Corrector also makes for a beautiful cream cheek color. Apply with a Sponge or Brush 940.

Create a fun, warm lip color this season with the Deep Brown Corrector and Spicy Lip Glaze.

Metro Beauty Academy

We’re happy to announce Metro Beauty Academy as MUD’s newest retailer in Eastern Pennsylvania. Metro Beauty Academy is a premier Cosmetology School located at:

4977 Medical Center Circle
Allentown, PA 181061.

They may be reached at 888.782.7221

 http://metrobeautyacademy.com