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If a model has chapped lips, bring a soft-bristled toothbrush and have them brush their lips to exfoliate the dead skin. Then apply moisturizer. If you want a glossy look without blowing out the highlights or looking like you covered the model's lips in patent leather, apply the moisturizer with pigment to the lips, then cover with lip balm to add a little extra moisture to the look. If you want a bit of gloss without going 110% glam, add some clear or contrasting gloss in the "bubble" of the lips: the place on the bottom lip, right in the center, where the light hits. That will give you the wet look while not making your exposure scream for mercy.
A lot of contouring (we’ll get to that in a bit) will completely wash out if you’re not careful. Don’t overdo the cosmetic contouring to the point where the model’s skin looks dirty, but try to help the contouring do its job by directing the light to hit the model’s highlights. If you’re going for an extremely high-key look, skip the contouring altogether — it will work against the effect you’re trying to achieve. Instead, concentrate on making a strong graphic statement: if you want eye or lip treatments to show up at all in a strongly high-key shot, you have to really over-pigment the areas in question. And don’t even bother with pastel colors — reds, charcoals, jewel-tones and rich, chocolatey browns work best..jpg)
an they do in color, and cooler tones, especially blues, look far darker. That charcoal eye shadow won’t show up as a lovely dramatic black unless you pile it on — finding a nice, rich navy might do you more good. And, of course, that luscious fire-engine red lipstick will probably make your model’s lips look paler than the rest of her skin. The makeup for a good black and white shoot might look garish and circuslike in person, but remember, color doesn’t matter here, only tonal values.
If you have a background in art in any shap.jpg)
e or form, this section should be easy to grasp. When you sketch the human form and face, it sort of becomes ingrained in you that, due to the skeletal structure of a person, light and shadow fall in certain places. By contouring cosmetically, you get that great, editorial-style look where the cheekbones pop and the nose looks more slender. It certainly won't end up looking as dramatic as what you see in Vanity Fair unless it's done by a real pro, with strong chiaroscuro in the lighting, and a decent amount of post-processing in Photoshop — but it will define the facial structure of your model much more than normal makeup would, and it will make him or her look far more attractive in the images as well.
an they do in color, and cooler tones, especially blues, look far darker. That charcoal eye shadow won’t show up as a lovely dramatic black unless you pile it on — finding a nice, rich navy might do you more good. And, of course, that luscious fire-engine red lipstick will probably make your model’s lips look paler than the rest of her skin. The makeup for a good black and white shoot might look garish and circuslike in person, but remember, color doesn’t matter here, only tonal values.
If you have a background in art in any shap
e or form, this section should be easy to grasp. When you sketch the human form and face, it sort of becomes ingrained in you that, due to the skeletal structure of a person, light and shadow fall in certain places. By contouring cosmetically, you get that great, editorial-style look where the cheekbones pop and the nose looks more slender. It certainly won't end up looking as dramatic as what you see in Vanity Fair unless it's done by a real pro, with strong chiaroscuro in the lighting, and a decent amount of post-processing in Photoshop — but it will define the facial structure of your model much more than normal makeup would, and it will make him or her look far more attractive in the images as well. 
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