Apply it at the temples, sides of nose, hollow of cheeks, under chin.Ī dot of shine here and there over velvet matte layers using deep, rich colours brings more dimensionality. It's interesting that you can go quite a bit darker than you think and create bold shadow emphasis and once blended, it still looks normal. You can use bronzer or a slightly darker powder than your perfect match. Shadows go dark in Autumn fabrics, so should they on the faces. On a face, that means contour! Take the 3D in you and make it more by emphasizing the hills and valleys. I like Rimmel SunBronze 02 as a good colour that's not very shimmery.Īutumn is about low lighting. Autumn's is baked earth, dark tan, a more orange-brown type of gold and a darker colour. So wear bronzer! Spring's is beige based peach-gold. The difference between frost and metallic may be semantic or may be about the colour they're rendered in, where frost is cold and icy colour, meaning Winter, while metallic is hotter and medium to dark, as copper, gold, bronze, and their variations, belonging to Autumn. To me, shine is smooth and wet and belongs on Spring. Worth taking a minute to think about the difference between shine, frost, and metallic. You could say a rose petal is velvety, yes, but it's not dry or thick. I mean, I ask you.Īutumn is hot, dry, velvety thick, and metallic. Expressed in Autumn's colours, dewy somehow feels slimy. Dewy spices, dewy chocolate, dewy rust, they don't make sense. Autumn is not dewy or creamy or anything that reminds us of smooth.
Spring's wide-eyed-wonder is not the rhythm of this drum. How do these types of natural colours amplify the many gifts they were given?Īutumn is seldom smooth to look at. Photo: boogy_manĪnd Dark, Autumn in the shade, and interesting how much temperature changes with light, darks are darker below and you're looking for a sweater. When the images are multiple and repeating, some get switched, causing us to see (or think we see) depth. With two incoming images, one for each eye, the brain has to decided which goes with L and R. Examples are geometric (plaid), natural (leaves, paisley), or brushstrokes (Impressionist painting style). Repeating patterns are successful for reasons based in basic biology and optics. We know that wearing many layers, along with looking warm and creative on Autumn, looks 3D. I think our brains are much more plastic with synonyms than we know and worth unleashing. It looks deep, synonymous with complex, wise, and penetrating. We don't want the face to look grainy, we'll leave that to fabric, but we do want the appearance of profound strength. This will generate movement backwards and forwards to feel like depth and texture. We're going to use the quality of light and shiny colour to advance and matte and darker colour to recede. From a distance, this varied natural landscape depicted in such rich, low intensity tones has great resonance. Up close, it looks an uneven surface, a grainy quality - lines, freckles, fullness in hair, thicker looking skin, a feeling of plush and pile. On a face, shape and depth take on a pronounced three-dimensionality - hills and valleys. The feeling is safe, cozy, secure, all the reasons why we don't put fluorescent overhead lights in our homes. The effect is to emphasize shape and depth, which looks rich and warm.
Autumn light is long, low, and less, like in the late afternoon.
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