Foggy eye makeup

Foggy eye makeup

Regardless of the character you animate, you will need makeup of that character. Whether in character make-up or in three-dimensional make-up, eye make-up is very important. The player must create eye makeup that the character draws. Eye make-up is very important as the concentration with the audience starts first in the eyes of the player.

PLANE A snout widens towards the bridge and is almost always shadowed for age. It can be illuminated for occasional oriental make-ups or for heavy shadows in deep eyes. The center of this plane is usually one of the darkest parts of the entire eyebrow area. The bottom corner is full of shade on the edge of the nose. The outer corner is soft and turns to the high beam on the bridge of the nose. The inner corner is always softened by plumping towards plane B. A medium or large brush can be used for this area.
PLANE B The base is a connection area that leaves the color or contains A. In the latter case A’s shadow is usually illuminated as it passes B and reaches C.

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PLANT C It is often shaded for young make-ups and is usually illuminated for the make-up of the elderly. In advanced age, the skin in plane C can lift up and occupy a part of the angle of view. Although I do not paint this, the effect can be achieved by brightly illuminating Cl and shading the lower corner of C2. A medium or large brush can be used for C1 and a narrow brush can be used for C2. If the light is coming from below, most of the high light will be next to the eyebrow. In other words, it gradually moves away from the bamboo floor where the outer corner of the eyeglass is formed to a soft shadow as it approaches the BC section.
The deepest part of the shade is at the bottom of the field and gradually becomes a high light as you approach Cl. The inside corner of plane C is a specific section, but if the meat is shown, the lake should come slowly. If not then the B’ye connection should be few.

It is usually best to use the shade colors for the narrow shade that gives the impression of the elbow curvature. The basic shading can be applied in the middle of a shade with the color and in the direction of the B and C sections, and it can be applied to create two soft corners. The wrinkled, which appears to have been made later, can be deepened with a darker shadow. This deep shadow should be mixed at the same time. If the entire vertical area looks like a pit, then plane C can be more shaded in the lighting.

Frequently wrinkles (also known as geese foot) are cut in the outer corner of plane C2. If you are using these wrinkles, make sure there are no lines (see the discussion of forehead wrinkles) as it is true wrinkles. Model the wrinkles first with a 1/8 inch brush with high light or an eye brush, then add a shaded eye brush or a pointed Chinese brush to keep the wrinkles very sharp and clean.

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