Neutralizing and Correction
I would love to take credit for the concept of neutralizing and correcting skin discoloration, however that credit belongs to the veteran makeup artists who worked in color film and television and during the technical advancement that occurred in Hollywood in the 40s, 50s and 60s.
For many years understanding how to use color to “neutralize” unwanted tones and skin discoloration was taught, learned and practiced by Hollywood makeup professionals. In recent years this concept has been replaced by concealers and cosmetic products that camouflage rather than neutralize. If you use enough product you can eventually cover anything, however the makeup might be so thick you can carve your name into it. Most of these products are practically useless because they are not available in the colors necessary for true skin tone correction. The majority of concealers are highly pigmented versions of their corresponding foundations; lighter tonal colors that highlight the under-eye area and attempt to cover dark circles, redness and other skin discolorations.
Consumers and industry professionals have been lead to believe that if they use a lighter shade of concealer it will eliminate unwanted color. In some paramedical and post-surgical instances this might be necessary, but in most cases layering on color simply does not work. A thick coat of color certainly cannot be used in high definition film or photography, as the thickness will be instantly read by the camera. This concept translates to everyday use; the last thing a woman wants to wear is something that appears caked on or shows that she has tried to cover up something on her face and failed. I myself think about the time as a teenager I tried to cover up an unsightly acne bump with liquid makeup only to realize it looked even worse – like something I tried to cover up but couldn’t.
So how do we go about covering up blemishes and discoloration before applying foundation? Before we even start, we need to understand four things: color theory, the colors of cosmetic correction, our formulations, and the application process.
Certain colors will do the work for us when it comes to removing discoloration within, underneath or on the skin.
Light is the key factor and the main tool we work with. Without light, we cannot see our work. The selection of white light is important. If you don’t believe me, try doing someone’s makeup under a blue flood and see what happens when you get them in normal light. White light also comes in a variety of colors. These colors range from a reddish-orange white, such as the lamp beside your bed, to the blue-white lights on most new car headlights. Both of these examples have many white light colors between them, including normal daylight. All of these white colors are measured in temperature variations called Kelvin. The light beside your bed is about 2800 degrees Kelvin, while car headlights are about 7000 degrees Kelvin. The lower the Kelvin temperature, the warmer the shade of white light, and the higher the temperature, the bluer the shade of white light.
If we go outside on a clear day at 12 noon and the sun is directly overhead – that’s the color closest to the pure white light we need to work with when applying makeup. The color temperature is about 6000 – 6500 degrees Kelvin. If you apply makeup in this color temperature (6000 – 6500 degrees Kelvin) and it looks good, makeup in other color temperatures (e.g. house 2800 or studio 3200) will look fantastic. This is the basic starting point for correction. You must be working in the correct light. Even the best of surgeons use great lighting - most hospital surgical lighting is 6500 degrees Kelvin.
In the chart below you will notice how using a green filter will eliminate the unwanted redness from the light. That concept is very simple. Choosing the correct correction color is actually simpler. You just have to remember what colors eliminate other colors.
Red and green, blue and orange, and pink and brown all cancel each other out. For example, someone that has blueness under the eyes would use a color that has a little orange in the undertones to correct or neutralize the blueness. Someone with a reddish-colored blemish on the face would use a color with green undertones. Now remember, you would never use pure red, pure green, pure blue or pure orange to neutralize. You would use a color which had undertones of red, green, orange, blue or pink for the correction.
DMK Cosmetics offer 10 specially formulated correction colors. These correction colors can be used with DMK Foundations, or with any other foundation or cosmetic product. By adding a small amount of some red neutralizers (those containing green undertones) to a foundation, you will reduce the amount of red in the foundation. By adding a small amount of a green-based corrector over a red area of the skin, you will eliminate the red area completely. Practice this by getting a very small amount and adding it over a red area of your skin like your knuckles. You will notice the red disappears, leaving the skin the same tone as the rest of the unaffected area. Please note that if you add too much neutralizer, you will not only stop the transmission of red light but will change the skin tone color, making it the same color as the corrector. This obviously means you have used too much neutralizer. Another tip when using a corrector directly on the skin is to always apply powder after the corrector and prior to applying foundation. This prevents the corrector color and foundation color from mixing.
All corrector colors easily mix with DMK Cosmetics Foundations and DMK Cosmetics Correctors as well as any other brand of crème-based makeup. We strongly recommend using the DMK Cosmetics Palette and Spatula for professional mixing.
HiLites draw attention to areas of the face that can benefit from accentuation. When used in conjunction with blush, they define the cheek bones and emphasize eye color. HiLites are visual tools that are used to sculpt the face. DMK Cosmetics have formulated four essential highlighting colors that can be used for multiple areas:
Yellow HiLite 1
This special yellow-based color is specifically designed for use in conjunction with DMK Cosmetics Foundations. When mixed with the foundation or applied directly to the face with a DMK Corrector Brush, it creates a natural highlight based on the color of the foundation. The creamy yellow color will also neutralize any unwanted violet tones that are sometimes present in fair to light skin tones.
Orange HiLite 1
This special orange-based color is formulated to highlight and reduce unwanted blueness under the eyes and around the orbital area. When applied directly over foundation, it will create a beautiful highlight and reduce any blueness present in the skin tone. This is especially helpful when an ultra sheer application is required.
Pink HiLite 1
This special pink-based color has been developed to not only act as a highlighter but to also reduce unwanted browns associated with areas primarily under the eye and around the orbital area. When applied directly over foundation, it will create a beautiful highlight on light to medium skin tones.
Ebony HiLite 1
This yellow-chocolate formulation will highlight and accent darker skin tones. This highlight can be mixed with all of the darker DMK Foundation colors.
LoLites are another tool used to sculpt the face. Instead of accentuating areas of the skin LoLites utilize the properties of light to reduce reflection, thereby de-emphasizing planes on the face. Available in two shade varieties, DMK LoLites work in perfect conjunction with DMK HiLites to sculpt the face.
Natural LoLite 1
This beautiful, subtle shade of brown shades and contours areas of the face that require less emphasis. Applied under the jaw line and below the hollows of the cheek, it will visually reduce large jaw and cheek areas. LoLite 1 is recommended for fair to medium skin tones.
Natural LoLite 2
This beautiful dark brown is used exactly like LoLite 1, but on medium to dark skin tones.
DMK Red Correctors
Red correctors reduce the redness present in the skin when applied directly onto the face and will also change the tonal value of a foundation by eliminating the redness present in the formulation.
Red Corrector 1 – Muted green
Eliminates redness caused by acne, sunburn and other red-based dermatological conditions. To reduce the ruddiness, add a little Red Corrector 1 to any foundation selected for light to medium skin tones. When using directly on the face, apply with a DMK Correction Brush to eliminate redness and then powder with DMK Correct-Set Powder prior to foundation application.
Red Corrector 2 – Subtle yellow
Red Corrector 2 works in the same way as Red Corrector 1, however it is formulated for use on medium to dark skin tones.
DMK Blue Correctors
Blue correctors control the amount of blue light reflecting off the skin which can generally be attributed to blood vessels close to the surface, resulting in a bluish appearance. DMK Blue Corrector can be used prior to applying foundation and setting powder. Darker skin tones can generally neutralize by applying a sheer coat of foundation over the area to be corrected, followed by an application of DMK Correct-Set Powder, and then apply correctors as needed.
Blue Corrector 1
This utilizes warm orange-based colors to reduce excessive blueness. Blue Corrector 1 is applied under foundation with a DMK Corrector Brush and then powdered with DMK Correct-Set Powder. Blue Corrector 1 is formulated for use on fair to medium skin tones.
Blue Corrector 2
This utilizes dark orange-based colors to reduce excessive blueness. Blue Corrector 2 is applied under foundation with a DMK Corrector Brush and then powdered with DMK Correct-Set Powder. Blue Corrector 1 is formulated for use on medium to dark skin tones.