Beauty Ad/Campaign

Bench Skin Expert Advertising Campaign

  

Photo by Ronnie Salvacion.
Celebrity model is Maricar Reyes.

Aspiring to be a Make-Up Artist?

This January 2015, let’s start fresh.  Again, what is this blog for? I realized that there are a lot of tutorial blogs, trending, tips and make-up artistry blogs but not much is really written about on how it is to be a  professional make-up artist. What is the use of your studies and skills when all the faces you do are yours and your friends and your real dream is to be a professional make-up artist?

Here in Manila, there are now a lot of make-up schools. They have mushroomed all of a sudden a few years back. Why is this so? Basically because of the notion that there is a big wedding industry that needs a lot of make-up artists, and that make-up is simply a vocational course that anyone interested in can get into. Well there are no accredited Philippine make-up school yet, so everything is really just a special diploma course. It actually is no different from any 3 day diploma workshops on paper. But proper schooling can teach you the real basics and more in-depth skills.

Let me give you a brief backgrounder on myself. I never had any formal training or schooling in make-up. Then why do I call myself a professional make-up artist? Well, for one, I earn a living doing make-up and the projects I do are all legitimate works in advertising whether print or television commercials.

I am one of the few lucky ones that was able to penetrate the business of professional make-up when the clutter was not as cluttered as it is now.

There are a lot of categories for make-up artists. You can be an advertising make-up artist whether for print or television ads, a wedding make-up artist, a make-up artist for show business, a special effects make-up artist, a make-up artist for salons, even for funeral parlors or you can be all of the above. The delineation is not as rigid and overlapping  positions are just but normal. But remember, each category has different skills to be mastered. Each category has different schools for learning.

So now that you are reading my blog and you want to be a make-up artist, what is in it for you? How does one become a professional make-up artist these days? Well honey, let me be frank… the rules sadly have changed a bit. Luck and connections  are not the only things that you need. Talent should be a given, of course. But schooling, again with all those unaccredited schools have become de rigueur. As a start-up, if you have schooling, it becomes easier for clients to believe in you.  Any good make-up school would do. Just choose wisely.

Make-up is a luxury, hence it is not for the marginalized.

Sadly,  it takes a lot of investment to be a make-up artist. From schooling to your materials. Remember you are working on a face and the products have to be of good quality, not to mention that the career has an “artists” coined into it, so that alone explains why this is not just an ordinary endeavor.  Again, luxury has its price. Your make-up schooling whether here or aboard are now your bragging points.  It dictates your status as to what kind of  class level of  make-up artist you are. Sad, but true. There are many talented make-up artist in different categories but sadly,  talent has taken a back seat, specially in these days of social media.  Today, social media is one way of advertising your work and possibly getting more clients. But then again, I go back to what I learned in my advertising days and that is “the best way to kill a bad product is to advertise it”. Even the most seasoned make-up artists like myself are judged from what we post on social media, our works are always criticized and people can see who really has the talent and who really is just hyped. But do not let that dishearten  you.

If you think you have the talent to be a make-up artist, just persevere. If it is in your destiny, who knows, the rules could still be the same, and the old charm of right connections and a little bit of luck can make you a successful make-up artist that you have been dreaming of.

Men’s Magazine Work

Every time I’m asked to do a sexy men’s magazine cover like FHM, I always think twice before accepting it. It’s usually because I’m not familiar with the celebrity or I’m not as excited to do the job.

Though there are times when the idea of adding my touch to a certain face excites me.

Like Katrina Halili, the featured cover girl, the one in the photos.

Katrina was once the sexiest star of her time, bagging FHM’s sexiest woman of the year, twice in a row, which was only a few years back.

But it’s the idea of a comeback that excites me. As a make-up artist, this is a rare chance to do some magic. How do I make her look current? Classier? More alluring? Different? Exciting? So many adjectives came to my mind that when the project was offered to me, I said yes right away.

I am also happy that the celebrity specifically requested for me. That was the icing on the cake.

For aspiring make-up artists, doing magazine work means doing real work and not minding the talent fee. Sometimes I find it unfair that make-up artist are paid a pittance just because your name will be added to the billing on the byline. But anyways, when I get excited for a project, money matters are no object. But on other magazine covers, I usually demand a fair price just to improve the industry and benefit the succeeding generation of make-up artists.

Going back to doing men’s sexy magazine covers, the trick here is to not to make your subject look vampy to the point of making her make-up look street-hawker like. No heavy liners, no smoky eyes. Subdue everything and make her look as polished as possible. No hard make-up, no blood red lips please. For me, a woman trying too much to look sexy is the quickest way to look cheap. Make-up is very important for a men’s magazine because make-up can spell the difference from being a hot mama to being a fabulously sexy hot mama.

Working for a Fashion Show

Once in a while, I get to work for a fashion show project. My last one was the”Naked Show” for  Bench Underwear  September, 2014.

I normally do not accept fashion shows as these are not exactly my cup of tea, but the thought of doing a lot of sexy bodies can be quite a tempting exemption at times.

Doing fashion shows needs speed, preparation and proper coordination when it comes to doing make-up. Make-up artists are hired to do quite a number of faces/models and the pay is half that of normal or regular work fees. Normal fashion shows like couture shows are actually easier to do than underwear shows.

People would think that putting on body make-up is easier and twice the fun than doing just facial make-up. Especially when you are tasked to do the make-up of the top male models. Actually, that was also what I thought before.

Doing make-up for an  underwear show means doing not just the face, but the whole body and some abdominal make-up as well. Painting abs is sometimes quite tedious after you have been doing abs for 6 guys already. Most models are vain, so no matter how nice their bodies already are, they still would insist on having their abs enhanced. It’s tiring because the models get to be made-up only after their rehearsals and that is usually one hour before the actual show. This happens because the models are paid on a per day basis, meaning it is, sometimes, only a day’s work for them, so rehearsals happen on the same day as the fashion show itself. That one hour window for prepping up is the most challenging one hour for a make-up artist.

Make-up for fashion shows are also different from print or other media as the light used are brighter and stronger. Hence the abs and contouring are requested by the seasoned models themselves. Bronzers are poured, bodies are oiled. But all in all, doing fashion shows can be fun, especially the after-show party when you can mingle with all the hot models. Just a little perk to the job.

Make-up Tranformation: Young American

Sometimes there are projects that you really have to be patient with. Just like this one. The Client wanted a fresh, beautiful, American-looking girl for their beauty ad. But the model the client got was not an American beauty but a Russian one, and in person does not fit the sixteen year old, fresh-faced girl that the client envisioned for their ad.

Most models are chosen based on their portfolios, but portfolios are not exactly the accurate and proper basis for casting. But since client already approved the model based on portfolio, the team was asked to make the most given the situation. It’s like ordering pizza and instead, tacos were delivered yet we still have to pretend it’s pizza.

So, on with the shoot.

Photoshop can help a lot with the finished product, but the original output should, by itself, be workable. This model is known to be difficult and very picky, she is obsessive-compulsive with cleanliness. She would wince if I put something on her face that’s not to her liking. So in order to have a smooth workflow with her, I acted like a novice.

In the end, I learned a lot from listening and collaborating with this model on how her features can be improved.

She knew exactly how to emphasize her eyes, like adding black liner on her waterline to avoid the bulging look. No under eye shadows as this will make her eyes look tired. Thicker liquid liner on her upper lashes but not extended or no winged tip to avoid looking hard and old. No powder on her eye bags so as not to emphasize her wrinkles. Softer curved eyebrows, mascara on her lower lashes and dewy foundation. I followed everything that she wanted since I always believe that everyone knows their face better than I would and collaborations always work for the best. Besides, I am too tired to stress myself out… so in this case, my being patient worked well in the end.

Getting your Celebrity client.

How does an aspiring make-up artist get to break into the world of show business and work with some celebrities? The answer to that is a lot of luck and a few connections here and there.

But for some who does not have any connections at all, here are some steps to help you land that celebrity client.

Everyone has to start somewhere and some of the best celebrity make-up artists have the most colorful stories to tell. Some started out as casters, beauty counter salesmen, beauty parlor artists, personal assistants, you name it. But the most unifying element among them all is luck, right timing and the eagerness to show their talent.

I started out in advertising and being at the top of my field as a creative director at such a young age got me burned out fast. Stress can be a quick deciding factor for a career change. Lucky for me, I already had the right connections, which is in advertising, where the real money for make-up artists are made.

Getting my first celebrity client also came with a lot of luck. My mentor and best friend Steven Doloso got sick on the day of a big magazine cover shoot and I had to pitch in for him. Lady luck was really on my side that day because the cover girl ended up as the “IT” girl of the moment, international music television (MTV) host Donita Rose. Donita was starting to be the hottest celebrity endorser of her time so making her up cemented my career.

Connections, connections, connections. That is the rule of the game.

To get celebrity clients, you have to be referred to them, for them to try you out. For starters, you have to at least have enough experience as a make-up artist and credible enough for celebrities to trust you. Word of mouth gets around and if you are good enough whether you are just assisting a senior make-up artist or you are from a beauty salon, somehow, someone might refer you. Always verbalize your ambition for wanting to work with a celebrity. Remember the six degrees of separation just might work for you.

The showbiz industry is quite small. We only have three TV networks to work with. Just choose which one you want to concentrate on. Each network and their celebrity or stars have their own quirks. But what is universal is that all stars would require the expertise of a make-up artist. Most stars already have their personal team. Usually referred or taken from their favorite beauty salons. One route to go is to be a personal make-up artist of a budding star. But this usually becomes just a stepping stone for ambitious make-up artists. Pirating or transferring to a more lucrative celebrity star is just but normal. Because if you are a good make-up artist, you will be in demand in no time. For not so busy stars, they rely on freelancers. Established make-up artists can do freelance work which is much better as they are more in control of their schedule and can choose who to work with. But it takes time before one can be a freelancer. Usually, senior make-up artists are freelancers. Starters still have to do their share of climbing the ropes or staying with one celebrity from a period of time before moving on to their next bigger star.

Magazines are also a quick way to get noticed by the stars. Stars or their handlers usually check who is the hottest make-up artist based from magazine work. So do not neglect the power of doing editorial works for magazines.

In the end, all careers that we have whether accidental or destined still needs hard work and pure talent to succeed. So to all aspiring make-up artists out there… may the best of luck be with you.

Photo: I rarely take a picture of myself with the celebrity I work with. Here, I am with Ms. Claudine Barretto, the drama princess of the Philippines, literally in my make-up chair.

Creating your Make-up Portfolio

For starters, how do you impress your clients that you have the talent? Clean and fresh looking make-up will not create that impact alone, even though that is what clients are looking for.

Remember that with your portfolio, you are showcasing your talent, so here are some tricks to help you reel them in.

First of all, make-up is so dependent on your choice of model. And if you are just starting to build your portfolio, definitely you won’t have access to really beautiful faces. So, for lack of a beautiful model, it is sometimes wise to play and be creative. Why is that so? Editors and art directors will be the ones judging your make-up but you need to get their attention first. A couture make-up as a cover page usually does the trick. Then have some vintage, punk, and old glamour looks just to spice it up. These works are just there to get the editors and the art directors interested in flipping through your book and see your versatility as a make-up artist. But the main bulk of your work should be the clean fresh look in dewy, wet, and matte finish. At least ten polished works in 8×10 photos are good enough. More than that and you will look too desperate.

Make sure that you also partner with a very good photographer because lighting is key in bringing out the best in your make-up. If you are using colored eye shadows, never let your photographer use warm lighting as these will ruin any colors that you use and everything will just be in golden shades. Cool or beauty lighting is essential in bringing out the right shades. Also, ask your photographer to use just plain white reflectors to bring out the vibrant shades and colors of your make-up. Silver reflectors have a tendency to make colors grayish in tone. So if you are investing or paying for your portfolio, better learn these tricks of the trade. For make-up school graduates, creating a portfolio is part of the course. Just learn to edit your works and never present unpolished works. Even if you are showing a mud drenched creation, there should always be a saving factor to your make-up. Like nice eyebrows or perfect lips. Art directors, specially the seasoned ones, look for perfection in creating the eyebrows and lashes. Why? because these are the hardest to photoshop. In this day and age of everything digital, even though everything is photoshopped, bad mascara and eye make-up almost always shows.

When I was trying my luck in New York, most agents were impressed with how clean my work was, based on my portfolio. They then scheduled me to do some test shoots for photographers who were also looking for an agent to represent them. But the catch was, I have to pay for the models’ time for test shoots. It was $200 an hour then, about a decade ago. That was the deal breaker for me. I did not pursue my New York gig because I was just there on vacation and all I wanted to know was whether my portfolio will make the cut, and it did very well I must say. So for those who want to start on the right footing, the trick of showing just the right number of works and including some couture makeup  in your portfolio works.

For advertising or catalog works, your portfolio should be a collection of magazine page cut-outs. Just  read my blog on “Breaking into Magazine work” for more tips.

As a footnote, the picture I used was shot by my good friend Ronnie Salvacion and styled by Noel Manapat almost a decade before the “Avatar” movie came out. Had I been inspired by the Avatar movie before doing it, I would have added more colors to the face. But then again, the thought that it was an original work made it more special and the experimental stage in my career was always the most fun. This work was used as a launching picture for a make-up/toiletries store  named PCX here in Manila.

Breaking into Magazine work.

For all professional make-up artists, the question is, why do you want to break into the magazine business? For one, being requested to do a magazine cover is a validation of your being at the top of your game. And for others, magazine work is a good showcase of talent and gives better leverage for a higher talent fee in advertising, bridal or fashion work in the future.

For those wanting to break into the publishing business, believe it or not, the field is just so open and it is so easy to penetrate. In fact, magazine editors sometimes find it hard to get really good make-up artists due to unavailability of people. There is a catch to this that you will know soon. It is not all glamour as an outsider would think.

But let us get into the business first. Like any other job, you can introduce yourself to the editors as a possible candidate. You can find the list of people where you can address your inquiry at the Editor’s Letter page or contents section of any magazine you are interested in. Address your letter of intent to the Editor-in-Chief, Art Director or Beauty Editor. Of course during interview time, you have to be armed with your sample of works or portfolio to present to the editors. (Creating a portfolio… read about it on my next blog.)

But also take into consideration the word “contributor” because as make-up artists, you are applying only as a contributor. Meaning you will be put into a pool of contributors that the magazine people can tap anytime they would require your services. And as “contributor” the pay scale is not a regular pay scale or always way below the average talent fee. Even way below than that of salon work sometimes. This is because the magazine gets to put your name as part of its byline or footnote. This byline and footnotes with your name on it are your proof of legitimate magazine exposure. So it works both ways. You share your talent, and gets a portfolio in exchange, and the magazine gets cheaper labor on your end.
Again as a word of caution, contributing for magazines will not pay your rent. The pay is usually just good for gas or taxi fare and a little coke and fries on the side.

You get into the magazine to create your legitimate or published work as part of building your portfolio. Once you are called to contribute, you will be dealing with the editors, personal assistants, photographers and stylists. Most of the editors are young or new graduates also wanting to experience the world of fashion and glamour. There is hunger in creating good works. The vibe is young and creative. Financial rewards are the least in their minds, and so should yours be, too. These are evident in fashion, beauty and editorial works. Everyone is experimental and eager to create that next big thing. The best part of this process is creating friends along the way. It is easy to be friends with people of same interests. The money may not be there but the experience is almost, always… worth it.

Model: KC Conception
Photo by: Marc Nicdao

Breaking into Advertising work.

Most aspiring make-up artists dream of having their work seen in all forms of print and media. But getting the big breaks are the hardest to come by. The competition is so fierce and you just do not know the word fierce until you are into the game. Yes, speaking from someone who plays the game, talent is not just the basis for getting the big projects. Competition is fiercer than Tyra Banks’ America’s Next top model show.

Let us start from the very basic. If you aspire to get advertising projects, requirements in Manila are just the same as anywhere else in the world. The only difference is that in New York, you have to be part of an artist union and have an agent to find jobs for you – I will reserve that story for another blog.

First you have to build your portfolio. These days, since there has been a proliferation of make-up schools in Manila, a portfolio of work becomes your essential tool in presenting yourself to the agency’s print producers. Getting a schedule to present your work is similar to job hunting. Interview is crucial because this is where the print producer will gauge your attitude and if your personality will fit into their working style. Every agency has a different culture and they also look for suppliers to fit into their mold. All these of course needs your versatile common sense and public relations skill. You also will be asked your rate.

Sometimes this is the tricky part. The agency already has an industry rate and your rate will determine your status and what level you will be categorized, whether high-end or low-end. Some agencies specially the big ones usually get high end make-up artists because agencies work on commissions. Agencies add on a 17.5% ASF or agency service fee on a per project basis, and if the project’s production cost does not deliver sufficient agency commission then how will they earn? So the bigger the cost of the project, the better for the agency. So for those agreeing to discounted rates, the agency has a different quotation sheet usually submitted to client with the original no discount cost and earns from the discounts gathered from its suppliers. So do not complain if you agree to be discounted and get the low end of the deal. This is normal practice everywhere. Unless client is wise enough to ask for the per item breakdown and personally pays every supplier their talent fees then you know you are getting your fair share. But that only works for direct projects and no ad agency involved. Now you know the real score on the business part.

Going back, print producers choose talents and shortlists them before first presenting to the agency’s art directors. Then if your style is what they are looking for, your name and portfolio is shown to the client during a pre-feasibility meeting for approval. Once you are approved, the print producer will call you for a pre-feasibility meeting just to discuss  the lay-out and some expectations for the shoot. Then a feasibility meeting will be scheduled. In a feasibility meeting, you will be meeting together with the rest of the agency creatives or the team behind the project. To be discussed are the print lay-outs, pegs or sample looks. If the project is for a skin or beauty advertisement then you will be asked everything pertaining to achieving the desired look. From the right skin tone, dewy or matte, eye shadow colors, your suggestions for the right lighting, hairstyle, etc. For really sensitive beauty projects, test shoots are done. That will mean separate pay and another set of meetings. The final meeting will be the pre-production meeting. This is where you will be sitting in a boardroom with the client and everything discussed and approved during the feasibility will be relayed to the client for approval. These meetings usually take 3 to 4 hours or more depending on how detailed the questioning and the degree of ignorance of the client regarding the technicalities of the shoot. Everything should be agreed on during the pre-production meeting to avoid any downtime during the shoot itself.
Now during the shoot, usually everything has a working timetable and make-up is always called in early and given an hour to accomplish the work. The shoot goes anywhere from easy breezy to mild to super stressful depending on the agency art director who controls the creative process of the shoot. More so if client attends the shoot or if it is an off-shore client where every sample photo is emailed to client for approval.

Every shoot is an experience. But the experience does not end there. Now comes the waiting time for getting your talent fee. After the shoot, you will give your billing to the print producer as well as an accomplishment report. For multi-national print works, you will be emailed a P.O or a purchase order before you can submit your billing. You are required to submit your TIN or tax identification number as well as you DTI registration form. When all forms are submitted, it usually takes 60 days minimum before you can follow-up whether your check is ready for pick-up.  Most new suppliers in advertising find this quite an irritating wait given that the work usually is already out and published by this time. Other agencies pay much longer depending on their multi-national clients. That is the reason why the rates are different for advertising  work. After  60 or more days, you can pick up your check either from the client’s office or in the agency or in a check releasing center.

So there. Now you know the ins and outs of getting a print project  for an agency. It can be hard and easy at the same time. If you have the talent and the patience to go to all the steps required, go ahead and reach for your dreams.

Model: Bianca Araneta Elizalde

Photo by: Ronnie Salvacion @ronniesalvacion.com

 

Celebrating Filipina Beauty.

Now that I am into blogging, I have not seen much photos or even stories pertaining to real Filipina beauty. Maybe because there are really not much bloggers or Filipino YouTube make-up tutorials out there. Well, I hope things would change soon. But that would be quite a long shot yet given the popularity of anything whitening in cosmetic products these days.

Filipina beauty should be celebrated on its own merits. Dusky, tanned, golden, morena beauties are beautiful to foreign eyes and the envy of many European girls… Yet most Filipinas still prefer the mestizas or the lighter skin versions of themselves. Well, at the end of the day, everything is a matter of taste and choice.

Admittedly, when brown skin are lightened, it becomes cleaner and glows better. Same goes for doing make-up for brown skinned Asian girls. Make-up should make them glow and look healthy, like they really enjoy the sun. Choosing the right foundation is often quite tricky since most cosmetic brands cater to Caucasian or Chinese skin tone. But lately, there has been an improvement in foundation color for Filipinas. Brands like Bobbi Brown, Lancome, Revlon, Maybelline, and Mac, just to name a few, now carry the right colors. Usually golden beige or soft tan are the descriptions to look for. There are a lot of bronzers to fake a tan, just avoid the orange-y look by getting the golden toned versions.

My model for this article is January Isaac, she is the Asian or regional face for Surf products. January and I come a long way back. I have been doing the Surf TV commercial for ages. In fact, when I was still working in the advertising agency, I briefly handled the Surf brand of Unilever when it was the number one brand at that time. January’s face represents a real global Filipina beauty, a mixture of the right blend yet still retaining that Asian look. No wonder her face is appreciated around Asia and even in Africa for her endorsement. This is just an example that real Filipina beauty travels and is appreciated globally. A good reason to celebrate it.

Every cover tells a beautiful story…Marian for FHM

My second magazine for the month of March 2013. There are months when I get to have several magazine covers, and this is one of those months. I had three covers for March which means I was not so busy with advertising works for the month of February. My job is very erratic. So right time management is key to making my life balanced. I enjoy the little surprises that comes with my job, like accepting this FHM cover for example.

I was just bored when i got a text from Allan Altera saying that they wanted to hire me for their anniversary issue. In my line of work, you never say no to an anniversary issue for it is definitely a big project for the magazine. So for sure, a big star will be gracing the cover. And true enough, two days before, Allan called to say that Marian agreed to be on the cover.

Marian Rivera is one of the biggest names in Philippine show business. She has been voted twice as FHM’s sexiest woman of the year without even having posed for the magazine. So this became FHM’s biggest feat for the year and I am just lucky to be part of it. Marian’s way of accepting was only if her requested team were available. Stylist should be Pam Quinones and photographer, Marc Nicdao and by some stroke of luck, we were all available on such short notice.

On the day of the shoot, our location was in Greenhills, in a super glamorous house beside a golf course which was featured in the cover of Tatler magazine. Marian arrived on time with Jackie her assistant. She told me she has not had breakfast yet and not even drank any water so she will not be bloated and her abs will show. Marian was excited to do the shoot. So that means she will not complain on whatever stuff I put on her, which would make my work easier. I first curled her hair to set it. There was no available hairstylist on such short notice so I was happy to do hair again. Before, when I was just starting, hair and make-up was done by only one person, so it was really hard balancing doing hair and make-up then, but it was good training for us nevertheless.

Hairstyle for print work, like make-up, is so much different from real life. That’s why sometimes I couldn’t help but teach the new ones that less product works for print. Bad hair ruins any good make-up, so when I get a hairstylist who is just on the job training, my blood boils. But I have always learned to keep chill about it.

So after setting Marian’s hair, I primed her skin with Physiogel cream. Marian’s skin is so milky white, being a Spanish mestiza, so she hardly needs foundation to keep her skin flawless. I started dabbing her eyes with Burnt Sugar Metallics by Bobbi Brown. I just used my pinky finger to dab the shadows on her lids. I added real hair eyelashes to define her eyes some more. Her eyebrows needed just clear mascara to tame it. I dabbed a few BBcream on her t-zone just to cover some very thin layers of skin. A gel blush to brighten her cheeks. Kryolan lipstick in LC002 was dabbed on her lips and layered with E’tude light pink lipgloss. Marian’s make-up hardly had foundation on so that natural light will blend well with her skin. The shoot was outdoors so heavy make-up would really show. Marc the photographer uses mostly reflectors for the shoot and my no foundation make-up is perfect for this situation. I added some lighter hair extensions just enough to add volume and highlights without making her look like a barbie doll as some hairstylist would love to do. I hate anything overboard so I’m so careful with what I put on my subjects.

The shoot was a breeze. It has been quite sometime that I had a shoot where in I had no assistants, no hairstylists. It feels like I was starting again and the feeling was exhilarating. I had control of the way my subject looked and there was no critic or judges around. Pam’s styling was so on the spot, we were just so in awe every time Marian changes into another outfit. It was a really easy shoot given the fact that it was a big project for the magazine. I went home happy that day. I had forgotten about the shoot until it hit the magazine stands. I was floored with the outcome. Marian never looked so classy and so fresh. Her requested team really blended well and delivered beyond expectations. But the best part was doing everything myself again. No assistant, no hairstylist, I even had to drive my self to the shoot. And what an outcome. Such a beautiful feeling. 😉

My March 2013 cover… Mega Magazine with Angelica

I love doing magazine covers. Not everyone is given the chance to do such a project. Editors have a wide range of talents to choose from but they usually go back to the tried and tested ones. An artist trained to do normal day to day make-up or someone who does heavy showbiz make-up would find their work too harsh for soft lighting and well scrutinized medium of print.

Make-up for print requires a different skill all together. The artist needs to collaborate with the photographer regarding what kind of lighting will be used as well as shooting conditions.

For this cover, the fashion editors wanted a fresh, dewy and glowing look that’s the trend for spring. To create a fresh, dewy effect, I used my favorite BB Cream in Expert Gold from TonyMoly. BB creams give that certain glow and creates a flawless finish. For Angelica’s cheeks, I used a cream blush  in pale pink from Bobbi Brown and topped it with some highlighter for added glow. As for lips, I used the same pale pink cream blush and added a lighter pink lip gloss from E’tude on top. Less or no powder is key to achieving this cover look.

Krist Bansuelo Premium Brushes

These signature brushes are designed and copied from my favorite brushes that I use through years of doing make-up.

Finding the right set of brushes is the hardest for any starting make-up artist. Getting the exact essential collection was even more trying. My goal in coming up with these brushes is to help everyone interested in doing make-up to have the right tools right from the start.

The shape and texture of the brushes are exactly what I use for celebrities here in the Philippines. Each brush is made from the finest Taklon synthetic fibers that can be washed and cleaned every day, unlike real fibers that breaks when washed too often. Synthetic fibers are the future of make-up brushes since it is softer on the skin and easy to care for. Powders adhere more and blends well when used. And the best deal about the brushes is that the set is comparable to the high-end brands at less cost.

I chose just ten essential brushes and made it into a set which initially was made for use of celebrities only. But since a lot of make-up enthusiasts were asking for the set, I now sell the brushes in a high-end store here in Manila.

The Krist Bansuelo Premium Brushes come in a set of 10 with a free leather case. Available at Rustan’s Essences for only 6,000 pesos per set.