關於 where do makeup artists work ，我們在網路上蒐集到這些相關的討論、資訊與評價

Day 21 to day 31 of #inktober Makeup Edition. I am done with INKTOBER! Super proud of myself.

What I learn from this experience is way more than what I asked for in the beginning of this process.

I learn about persevering on despite not getting validation that I expected. Art is hard, if you think about it. Beethoven and Da Vinci and every artists in the world work really hard to reach to where they are.

I learn about discipline and time management. To be both accountable to myself and also to each and everyone that supports me.

I also started exploring other platforms as well beside just on Instagram. And found so much love and support everywhere!

I also learn more techniques in my makeup by being more hands on. And what doesn’t work as well!

This month was amazing for me to the point I want to document it all in a book form. And that is what I am going to do.

This is just the beginning for me.

Which is your favourite?
#inktober2020 #inktober #creativemakeup #makeupartistsworldwide #undiscovered_muas #undiscoveredmuas #makeupfordays #crazymakeups #illusionmakeupartists #31daysofhalloween #makeupcoyote

【水世界】的前製設定與現場劇照

WATERWORLD (1995)
In celebration of today’s anniversary of this wet mess/epic. Let’s celebrate the hard work this crew put into bringing this world to life. Water movies are never easy but when it comes to this movie anytime you bring it up and a crew member from it is in earshot, the stories pour out. Not always bad, I know a AC that said he had a blast, he loved the boat rides out and all the camaraderie the crew had to have to get thru it. To all the crew that helped bring WATERWORLD to life, We salute you and thanks for the memories. I personally enjoy this hot mess of a movie, it’s one of the last ones of its kind...done practically...in a way.
let’s take a deepest of dives into WATERWORLD

The director, Kevin Reynolds, knew there would be problems before production had even started, “During pre-production. Because having never shot on water to that extent before, I didn’t really realise what I was in for. I talked to Spielberg about it because he’d gone to do Jaws, and I remember, he said to me, “Oh, I would never shoot another picture on water”.
“When we were doing the budget for the picture, and the head of the studio, Sid Sheinberg, we were talking about it and I said, “Steven told me that on Jaws the schedule for the picture was 55 days, and they ended up shooting a 155 days”. Because of the water. And he sat there for a moment and he said, “You know, I’m not sure about the days, but I do know they went a hundred percent over budget”. And so, Universal knew the potential problems of shooting on water. It’s monstrous.”
The film began with a projected budget of $100 million which had reportedly increased to $175 million by the end of production. The principle photography had overrun for at least thirty days more than originally planned due to one major decision.

Whereas today they would film in water tanks with partially built sets, employing green screens to fake the locations, back in 1995 they decided to build everything full size and shoot out on the ocean.

This causes extra logistical problems on top of those that already come with making a major action blockbuster. Cast and crew have to be transported to sets. The camera boats and sets float out of position and will have to be reset between takes taking up valuable production time.

The first draft of Waterworld was written by Peter Radar, a Harvard graduate who wanted to break into the film business. His contact in the film industry was Brad Kevoy, an assistant to the legendary director Roger Corman.

Roger Corman is best known for making films very quickly on a small budget. He also liked to give young talent a chance to direct and write their own films. Brad informed Peter that if he could write a Mad Max rip off, he would arrange to finance and let him direct the picture.

Radar came back and pitched the idea for what would become Waterworld. Kevoy took one look at him and said,

“Are you out of your mind? This would cost us three million dollars to make this movie!”
So Radar kept hold of the idea and decided to re-write the script but, this time, going wild. He wrote what he wanted to see on-screen, limited only by his imagination, not a real world production budget.

He managed to get the newly written script shown to a pair of producers with whom he had made contact with. They loved it and ironically they passed it onto Larry Gordon. He shared the enthusiasm saying it had the kind of cinematic possibilities he was looking for. A deal was signed on Christmas Eve of 1989.

As further script rewrites progressed, it became clear that Waterworld was too big for the Larry Gordon’s production company to undertake by themselves. In February 1992, a deal was signed with Universal Pictures to co-produce and co-finance the film. This was now six years after the first draft had been written.

Universal had signed director Kevin Reynolds to Waterworld. Whilst he was finishing his latest film, Rapa Nui, pre-production for Waterworld was already underway.

The decision was taken that the largest set for the film, known as the atoll, would be built full size. The atoll was the primary location for film and in the story served as the location for a small population of survivors.

The logic behind this decision was due to the high percentage of live action filming required in this location, as well as a huge action set piece. No sound stage would be big enough to incorporate this number of scenes and it was crucial that we see the mariner sail his boat into the atoll, turn around and set out again. A full-size construction was the only way to go as the use of miniature and special effects would be impractical.

The next problem was deciding where to build this huge set. After much research, Kawaihae Harbour in Hawaii was chosen as the location. The atoll could be constructed in the harbour and rotated when needed thus allowing for open sea in the background. Later towards the end of principle photography, the atoll could be towed out into the open sea for the filming of the big action sequences which would be impractical to shoot in an enclosed harbour.

Director Kevin Reynolds also discussed the possibility of using the same water tank as James Cameron’s The Abyss, which had filmed there around five years ago,

“We had even entertained the notion of shooting at that big nuclear reactor facility where they had shot The Abyss, to use it for our underwater tank. But we found it in such a state of disrepair that economically it just wasn’t feasible. We didn’t have as much underwater work as they did. Most of The Abyss is interiors and underwater and model work, ours is mostly surface exterior.”

The production company had originally envisioned building the atoll by linking approximately one hundred boats together and building upon this foundation, just like the characters in the film. The production crew set out to search Hawaii and get hold of as many boats as possible.

During this search, a unique boat in Honolulu caught their attention. Upon further investigation, they discovered it was built by Navitech, a subsidiary of the famous aircraft production company, Lockheed.

They approached Lockheed with the strange request of figuring out how they could build the foundations of the atoll. Lockheed found the request unusual but didn’t shy away from the challenging. They agreed to design the atoll foundation and Navitech would construct it.

Meanwhile, an 11ft miniature model of the atoll was sent out to a model ship testing facility in San Diego. Scaled wave tanks are used to determine the effects of the open sea on large scale miniature models of new untested ship designs. This would help determine what would happen with the unusual design of the atoll when it was out of the harbour.

The atoll, when finished, was approximately ¼ mile in circumference. It took three months to construct and is rumoured to cost around $22 million. As the atoll would be used out on the open sea, it required a seafaring license. Nothing like this had been done before and after much deliberation, it was eventually classed as an unmanned vessel. This meant that all cast and crew would have to vacate the set whilst it was towed into position. By the end of production, the atoll was towed out to sea a total of five times.

Shooting out on the open sea presented a series of logistical problem as Reynolds describes,

“We had an entire navy, basically – I mean, this atoll was positioned about a mile off-shore in Hawaii, it was anchored to the bottom of the ocean so it could rotate. What you don’t think about are things like, you’re shooting on this atoll to maintain this notion that there’s no dry land, you always have to shoot out to sea. Away from the land. So we chose a location where we had about a 180 degree view of open water. Nevertheless, any time when you’re shooting, there could be a ship appear in the background, or something like that, and you had to make a choice. Do I hold up the shot, wait for the ship to move out, or do we shoot and say we’re going to incur this additional cost in post-production of trying to remove the ship from the background.

And at that time, CGI was not at the point it is now, it was a bigger deal. And so, even though if you’re shooting across the atoll and you’re shooting out onto open water, when you turn around and do the reverses, for the action, you had to rotate the entire atoll, so that you’re still shooting out to open water. Those are the kinds of things that people don’t realise.

Or something as simple as – if you’re shooting a scene between two boats, and you’re trying to shoot The Mariner on his craft, another boat or whatever, you’ve got a camera boat shooting his boat, and then the other boat in the background. Well, when you’re on open water things tend to drift apart. So you have to send lines down from each of those boats to the bottom, to anchor them so that they somewhat stay in frame. When you’ve got a simple shot on land, you set up the camera position, you put people in front of the camera and then you put background in there. But when you’re on water, everything’s constantly moving apart, drifting apart, so you have to try to hold things down somewhat.

And these are simple things that you don’t really realise when you’re looking at it on film. But logistically, it’s crazy. And each day you shoot on the atoll with all those extras, we had to transport those people from dry land out to the location and so you’re getting hundreds of people through wardrobe and everything, and you’re putting them on boats, transporting them out to the atoll, and trying to get everybody in position to do a shot. And then when you break for lunch, you have to put everybody on boats and take them back in to feed them.”

The final size of the atoll was determined by the size of the Mariners boat, the trimaran. The dimensions for the trimaran were finalised very early on in pre-production, allowing all other vehicles and sets to be sized accordingly.

Production required two trimarans boats which are so called because they have three hulls. The first was based on the standard trimaran blueprint and built for speed but also had to accommodate a secret crew below decks.

During wide and aerial shots it would have to look like Costner himself was piloting the boat. In reality, a trained crew could monitor and perform the real sailing of the boat utilising specially built controls and television monitors below deck.

The second trimaran was the trawler boat which could transform into the racer through the use of special practical effects rigs. Both of these boats were constructed in France by Jeanneau. Normally this type of vessel requires a year to construct but production needed two boats in five months!

Normally once the boat had been constructed, Jeammeau would deliver it on the deck of a freighter, requiring a delivery time of around a month. This delay was unacceptable and so the trimarans were dismantled into sections and taken by a 747 air freighter to the dock Hawaii. Upon arrival, a further month was required to reassemble the boat and get them prepared for filming.

sets recreating the inside of the tanker were built using forced perspective in a huge 1000ft long warehouse which had an adjoining 2000ft field. In this field, they built the set of the oil tankers deck, again constructed using forced perspective. Using the forced perspective trick, the 500ft long set could be constructed to give the impression that it was really twice as long.

There’s more to a film than just it’s sets and filming locations. Over two thousand costumes had to be created with many of the lead actors costumes being replicated many times over due to wear and tear.

This is not an uncommon practice for film production, but due to the unique look of the people and the world they inhabit, it did create some headaches. One costume was created with so many fish scales the wardrobe department had to search the entire island of Hawaii looking for anyone who could supply in the huge quantity required.

Makeup had to use waterproof cosmetics, especially on the stunt players. As everyone had a sun burnt look, a three-sided tanning booth was setup. The extras numbering in their hundreds, with ages ranging from six to sixty-five, passed through the booth like a production line to receive their spray tan. The extras then moved onto costume before finally having their hair fixed and becoming ready for the day.

In some scenes, extras were actually painted plywood cutouts to help enhance the number of extras on the set. This can easily be seen in one particular shot on board the Deez super tanker.

Filming on the water is not only a difficult and time-consuming process but also very dangerous. It’s been reported that Jeanne Tripplehorn and Tina Majorino nearly drowned on their first day of filming.

Waterworld’s star Kevin Costner reported having a near-death experience when filming a scene in which the mariner ties himself to his catamaran to survive a storm. The pounding water caused him to black out and nearly drown.

Unbeknownst to most of the crew, Kevin Costner’s stunt double was riding his jet ski across 40 miles of open ocean between his home on Maui and the film’s set on the Big Island. When he didn’t show up for work one day, the production team phoned his wife, who informed them he had already left for work. The stunt double’s jet ski had run out of gas halfway through his “commute” and a storm had swept him farther out to sea. It took a helicopter most of the day to find him. The stunt doubles name was Laird Hamilton.

As well as the logistical problems of creating a film of this scale and on water, they also had to deal with the press who seemed intent on wanting the film to fail. Director Kevin Reynolds discusses the situation,

“It was huge, we were constantly fighting – people wanted to have bad press. That was more exciting to them than the good news. I guess the most egregious example of that that I recall was that the publicist told me that one day…we’d been out the day before and we were doing a shot where we sent two cameras up on a mast of the trimaran and we wanted to do a shot where they tilled down from the horizon down to the deck below. We’re out there, we’re anchored, we’re setting the shot up and a swell comes in, and I look over and the mast is sort of bending.

And I turned to the boatmaster and I said, “Bruno, is this safe?”. And he looks up the mast and he goes, “No”. So I said, “Okay, well, we have to get out as I can’t have two guys fall off from 40 feet up”. So, we had to break out of the set-up, and go back in a shoot something else and we lost another half-day.

Anyway, the next day the publicist is sitting in his office and he gets this call from some journalist in the States and he goes, “Okay. Don’t lie to me – I’ve had this confirmed from two different people. I want the facts, and I want to hear about the accident yesterday, we had two cameramen fall off the mast and were killed”.

And, he goes, “What are you talking about?”. And he goes, “Don’t lie to me, don’t cover this up, we know this has happened”. It didn’t happen! People were so hungry for bad news because it was much more exciting than…they just said it, and you know, it hurt us.”
Upon release, the press seemed to be disappointed that the film wasn’t the massive failure they were hoping it to be. Universal Studios told Kevin Reynolds that one critic came out of an early screening in New York and in a disappointed tone said,

“Well, it didn’t suck.”

It is true that during principle photography the slave colony set sank and had to be retrieved. However due to bad press, the rumour became much bigger and to this day when you mention the sinking set, most people assume it was the huge atoll.

During production, press nicknamed the film “Kevin’s Gate” and “Fishtar”, referring to 1980’s box office failures Heaven’s Gate and Ishtar. Heaven’s Gate failed so badly it led to the sale of United Artists Studio and has become synonymous with failure in Hollywood.

As well as the exaggerated set problems and other various production rumours, there were also difficulties with the script. In a risky move, the film was green lit and moved into production without a finalised script.

The final total is a reportedly thirty-six rewrites. One of the writers involved was Joss Whedon. Joss had worked on many scripts before becoming a director having being at the helm of both The Avengers and the sequel Avengers: Age Of Ultron. He described his experience on Waterworld as,

“Seven weeks of hell”
Everything came to a head just three weeks before the end of principle photography. Kevin Reynolds who was an old friend of Kevin Costner allegedly walked off set or was fired. There was no official statement on what happened.

When Reynolds left the production this event caused many changes to be made. Composer Mark Isham had already composed approximately two-thirds of the film’s score by the time Reynolds left and that event ultimately caused him to leave production. As Mark describes in this interview excerpt,

“Kevin Reynolds quit the film, which left me working for Kevin Costner, who listened to what I had written and wanted a completely different point of view. He basically made a completely different film — he re-cut the entire film, and in his meeting with me he expressed that he wanted a completely different approach to the score. And I said, “oh let me demonstrate that I can give that to you”, so I presented him with a demo of my approach to his approach, and he rejected that and fired me. What I find a lot in these big films, because the production schedules are so insane, that the directors have very little time to actually concentrate on the music.”
Rumours report that Costner took control of production. He directed the last few weeks of principle photography and edited the final cut of the film that was released in cinemas.

Reynolds discusses his surprise at discovering that one of the most famous scenes from what is known as the extended version, was left on the cutting room floor,

“…it would have differed from what you saw on the screen to some extent, and one of the things I’ve always been perplexed by in the version that was released, theatrically, although subsequently the longer version included it, and the reason that I did the film, was that at the very end of the picture, at the very end of the script, there’s a scene when they finally reach dry land and The Mariner’s sailing off and he leaves the two women behind, and in the script they’re standing up on this high point and they’re watching him sail away, and the little girl stumbles on something.
And they look down and clear the grass away and that’s this plaque. And it says, “Here, near this spot, 1953, Tenzing Norgay and Edmund Hillary first set foot on the summit of Everest”. And that was in script and I was like, “Oh, of course! Wow, the highest point on the planet! That would have been dry land!”. And we got it! We shot that. And they left it out of the picture. And I’m like, “Whaaat?!”. It’s like the Statue of Liberty moment in Planet of the Apes. And I was like, “Why would you leave that out?”

Written by John Abbitt | Follow John on twitter @UKFilmNerd

If any the crew cares to share any of their experiences on it please comment.
Thanks for reading
If you want more deep dives visit
https://www.facebook.com/groups/crewstories/?ref=share

[ Long Post Ahead ]
Growing up, I have always been taught to make my dream happen, dream BIG, don’t settle for the things that are easy to get, and nothing is impossible.
Now that I am a grown up #stillachildatheart, I know that all those motivational words that my parents been planting in me, are easier said than done. “Your BIG friggin dream can happen, but it is gonna take aaaaaaaallllooooooottttt of hard work to make it possible.” #youcanquotemeonthat
We grew up in a society that teaches us a guideline on how to live in order to survive, that cultured us into believing that the definition of success is having a stable job, being married, and having a happy family. Especially in our country, where we are still learning to ask a very simple question of ‘why’ towards the decisions/choices that are handed to us. So I, as a millennial, would just like to ask,”Why not I just try something different?”
To be able to do what I enjoyed doing - beauty, have not been easier. I faced people constantly doubting my credibilities, people questioning me on how far can I actually go in terms of career, close families telling me that they are ashamed of the career choices I made.
Till today, I don’t regret any decisions that I made. I been working as a makeup artist for 9 years now, 6.5years part time, and 2.5 years full time. I am in fact proud of the fact that I never work a 9-5 job, proud that by freelancing, I actually get jobs week in week out. I am proud that I can confidently charge people the rate that I deserved. I am proud that now I am able to hire makeup artists under “PearlTJI” when I can’t do everything by myself.
After being doubted and rejected today, I came home feeling super down. As though whatever I have done was for nothing, so I sat myself down and typing this on this public social media net in order to just remind myself that,” Don’t compare your success to other people’s, in due time, if it is mine, it is mine. Just look back and see how far you have come. You are doing just fine. You are okay, Pearl”

KAWAII♥PATEEN Report
"Shiro-Nuri" (painted in white) artist MINORI interview & June 2014 exhibition

Minori is a Shiro-Nuri (painted in white) makeup artist who uses Japanese traditional Shiro-Nuri techniques to express nature-centered themes since 2009.
Her art is not limited to photos, she is herself a living work of art, exhibiting her Shiro-Nuri makeup as a fashion style in everyday life. She calls this style "Monshiro-Joh", which would mean "Miss Small-White" (a play of words with "Monshiro-Choh" which means Small Cabbage White butterfly).

Shiro-Nuri is a Japanese traditional makeup style, and is used by Geisha and actors of Kabuki for a very long time.

Since the Meiji era (1868-1912) the Japanese arts have been greatly influenced by the Fine Arts from the occident,
and started moving from simple handicrafts to fine arts, and lately with the new technologies Japanese arts start another transformation.
This exhibition called HYOH-BYOH is centered around the artists whose art is based on traditional Japanese detailed crafts and workmanship, and still not influenced by new technologies.

—
Tokyo Street Fashion KAWAII♥PATEEN
--- Have fun with Fashion! ---
Also on Facebook with tons of photos :
https://www.facebook.com/Tokyo.Street.Fashion.KAWAII.PATEEN
Official site : http://waoryu.jp
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creating decorations as I desire, like a canvas.
People do get scary
I do not care about the criticism
There are clothes I want wear, and I do my make-up accordingly, so with the white painting I also wear it as a fashion.
I truly like the Gothic and the Lolita, and since those types of clothes are decorated, or should I say, the decorations are very detailed, there was a part of me which said it does not match very well with my looks.
During that time, I was not creating, but the desire to express my originality grew more and more. Thus, I started creating on my own or re-make, and I had continued to change my make-up accordingly.
When my face is white, I am able to change the decoration or create a new face like a canvas.
I brought in my favorite "nature" aspect, and gave it more originality.

During that time, I was not creating, but the desire to express my originality grew more and more. Thus, I started creating on my own or re-make, and I had continued to change my make-up accordingly.
When my face is white, I am able to change the decoration or create a new face like a canvas.
I brought in my favorite "nature" aspect, and gave it more originality.

I have different mindsets on fashion photos and art photos. The fashion is based on purely for my enjoyment, but the art photos is an experiment on how much I can express on one theme of nature. And, based on that nature theme, I make my own costume or tell the photographer on how I want to shoot the photos and create something together.
It does make people scary.
The white painting. Yes, when the face is white, people tell me I look dead or it looks creepy, but other than that I do not have any problems.
I have this pure feeling of loving it, and I have a strong feeling of expressing through this white painting style, and it is the strongest thing I want to do in my life. Although others may call it creepy, I do not care much. Seeking what I want to do and finding the meaning of my life is what keeps me going despite the criticism.
This exhibition is called "HYOH-BYOH" (vast and indistinct). It is an exhibition of masterly art of selected artists who create by hand, which is analog but very detailed work.
I was invited by Ikeuchi-san, the curator who thought my make-up to be great and eye catching. Based on the theme of nature becoming visible from the inner face is the main theme. The title is "metabolism". The image I have is absorbing and releasing new things in and out of your self.
It seems there is a body mechanism of blinking without consciousness. I believe in that short moment appears the true nature within me. So, I shot with the theme of nature coming out and disappearing every time I blink my eyes.
The art works have been taken in 4 patterns.
From the top, "sun" "plants" "water" and "earth"
From the left is shown the "sleep" "awakening" "enlightenment" "death".
I am not only changing my make-up, but also my hair as well.
One of the themes is the "sun" from its "awakening" until its death.
This took us a whole day to photo shoot. Starting from the very first status of sleep, I added more make-up and finalized it. It goes same with the hair where I arrange using one whole thing on the same day and at the end, accordingly with "death", I either burn it or spray paint it.

Hey everyone,

This is a very different type of video. I recently took up painting again and some of you requested a Speed Painting video so here it is. Sit back, enjoy the music and paint with little Bubz.

This is my 3rd painting lesson with Tim Gagnon. He is a fellow Youtuber and amazing artist. I found him a week ago and have been OBSESSED with his painting techniques. His passion inspires me so much and I'm learning so much from him right now.

I'm currently taking the Misty Forests lessons from his website http://www.timgagnonstudio.com/lessons

You guys can check out his Youtube Channel: http://www.youtube.com/Gagnonstudio

I'm sharing his channel and website because I'm learning so much from him and sharing the joy. I'm not paid by this or anything. I just think he's great and deserves to be known more. I know a lot of you guys are aspiring artists out there and I know Tim would teach amazing things to you all like I did.

For 2012, I decided to take up painting for one of my resolutions. I loved painting as a child. I was obsessed with art because I can go anywhere through my drawings. It freed me because it allowed me to escape from the busy World.

As I get older, I really realize that the simplest things make me happiest. Sometimes, I feel like the World moves too fast for me. Almost 8 years after High School, I plucked up courage to paint again. Painting somehow slows down time for me because it allows me to be 100% focused on the painting.

You guys can read my diary post
http://bubzbeauty.com/diary/235-painting-with-passion-again.html
for my painting story. I hope it also inspires you guys to go back to your passions. I know we can become occupied with life but really, this has given me back lots of meaning in my life again. I don't think people realize how short life really is so do all the things you want to do that inspires you while you can. Make the most out of it.

I'm still learning from Tim right now (You guys should see his original painting of the one I did lol, it's like...breathtaking!!!). It will be a while for me to be as skillful (or if not, half as skillful) as he is. But one day, I would love to give away one of my paintings to you guys as a gesture. If I ever hit 1 million subscribers- that would be such a special thing to do.

Some of you mentioned I can auction a painting and put the money to charity. That's a great idea but it makes me nervous. It'll be a fun and good cause and I'll work hard practicing for that day.


Ps. Music "Path of Wind" orchestra version from my fav Studio Ghibli anime "Totoro". Nostalgic!! and also "From the Inside out" instrumental from Hillsong.


Have a great day,

Much love, Bubz xx





Check out the Bubzbeauty Official Website. I update tons of beauty, fashion and hair related articles almost daily.
http://www.bubzbeauty.com

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[READ ME]
Hey everybody,

This video is going to demonstrate how you can use a bit of makeup to create an illusion of a slimmer & taller nose by the techniques of contouring.

What sucks is with eyes and lips- everybody has different preferences but with the nose there is a so called set standard. "Slim & high". What is this 'set standard' anyway? I don't believe in it but doesn't the media like to brain wash us all?

I know I'm going to get a lot of slack about making a nose contouring video but I don't care =). I'm here to do my thing and if it's requested- I'll do it. I rather my viewers not go through the pain from nose surgery and nose contour instead. It's cheap, safe and you got nothing to lose.

If you can apply eyeliner to make eyes bigger, wear black to give illusion of a slimmer body, wear heels to make yourself taller, wear extensions to fake having long hair; why can't you use makeup to give illusion of a slimmer nose?

Genetically- asians not only scar more than any other race but a lot of us have flatter profile & a bulbous tip. This means the nose can appear wider with less definition. It's ok- I appreciate the oriential face. I think each race is uniquely beautiful in their own way. But I do understand that many people ARE self conscious about the nose. So unhappy that it's all they can think about.

The way I contour my nose is a bit different from how most makeup artists contour the nose. This is because everybody has different noses and one form of makeup will not cater everybody. Just like how I can't do a lot of makeup looks on my eyes because I have small eyelids.

That's fine =) We work with other methods that work well for us. I find that this technique works best for me. Makeup should have no rules. The techniques I used for nose contouring are mostly catered for my type of nose because there aren't a lot of nose contouring videos for asian noses on Youtube. However- if you feel you have a wide alar base or that your nose is flat; you can try out these methods if you wish =)

Remember, nobody is perfect. I would hate to think any of you guys let your nose affect you from living your life fully. Everybody has flaws and sometimes what you think is a flaw could be something your family & friends love about you. You know what? I like my nose now. I used to hate my nose. I would look at the mirror and I cry because I thought it didn't blend well with the rest of my face. This made me insecure and I would try to photoshop my photos or even rip up perfectly fine normal photos of myself. I've even considered getting a nose job before. Would you believe that? Crazy eh? Not really because we all have been there too where we've once hated our own reflection. When are we going to stop being so harsh on ourselves and focus on our good features instead?

My nose is actually one of my boyfriend's favourite feature about me. My nose is also inherited from my father and it makes me happy that I have a feature that represents somebody I love & care about. It's part of me. I should love it and feel lucky that I can breathe out of it and that it keeps me alive.

I'm working hard on my new cosmetic brushes but I will keep you guys informed with the progress. Loving the dual end pencil/fluffy brush though ^_^. We shall see.

If you are considering surgery on your face or body, I won't judge you at all because I understand you have reasons. But remember to think it through because there are a lot of factors to think about. Think about who are you doing this for and remember, surgery doesn't necessarily mean you will be happy. Definitely think about all sorts of alternatives before going under the knife =) It can be dangerous and no surgery is 100% guaranteed safe or successful. Why not try contouring? Talk to somebody you trust.
"The best and most beautiful things in the world cannot be seen or even touched. They must be felt within the heart". Helen Keller.
I may be 4ft 11 with a round face, wide nose and thick legs- I'm beautiful because I feel beautiful. It took me years to be comfortable in my own skin. No amount of makeup has ever made me feel as beautiful as I do now ^_^. You are beautiful too. Tell yourself this and believe it!

Ps. I have been watching everybody's contest entries and it's lovely to see my viewers faces. You guys are so cute ^_^. Keep them coming. I like to watch you guys before and after I sleep ^_^

Pps. As always, thank you to youtube channel 'Karaokekpop' for awesome instrumentals!


Bubbi x



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