Chantal Jane - Makeup Artist

RED CARPET STUDIES | UNDERPAINTING

Watch me underpaint the complexion.

Soft transitions, natural dimension and skin that still feels like skin. I used William Tuttle foundations to add light and shadow, foundation to achieve a really natural longwear finish, and powders to set the makeup.

Here’s a look into my current favourite skincare toy for underneath a makeup application. These 3 products really do deliver for me time and time again when there aren’t too many skin concerns to address.

Hyalu-cica First Ampoule
Hyalu-teca Glass Skin Milk
Golden Dry Skin Miracle Salve

The time and attention given to the skin will always show through the makeup, and your morning and evening skincare routine matter more than you think. I’ve spent decades learning all about different products and how they can transform the skin, no matter what the need is.

Is there a skincare concern that you’d like to address? DM me any questions or ask in the comments, I’d love to help 🤍

RED CARPET STUDIES | UNDERPAINTING

Underpainting is one of those techniques that sounds complicated, but the idea is actually quite simple.

Instead of applying contour and depth after foundation, it’s placed underneath and softened with a thin layer of foundation over the top.

I find it creates a more natural result because those layers become part of the complexion rather than sitting on top of it. As everything is buffed together, the contour becomes far less obvious, but the dimension remains.

One of the easiest ways to make makeup look heavy is to flatten the natural highs and lows of the face with too much coverage. Underpainting is one of the techniques that can help maintain that structure while keeping the skin looking like skin.

The end result isn’t necessarily more contour. It’s softer transitions, natural dimension, and a complexion that feels effortless on camera.

Monochrome. Slightly grungy. Deliberately undone.

Built mostly with the Artist Pencil in Total Taupe.

The full tutorial is coming soon.

One thing I always come back to with red carpet beauty is that it rarely feels overdone or over-applied.

Working in multiple light layers creates coverage that still looks like skin. The light still moves across the face and the features still have dimension.

A lot of that comes down to understanding how different finishes interact with light. Where matte textures manipulate depth and structure, a dewier finish can bring life and movement back into the complexion. The balance between the two is often what makes skin look beautiful on camera.

This tutorial is my take on soft focus skin — keeping the complexion soft, dimensional and luminous without losing the natural character of the face.

It’s also the beginning of a new series I’m calling Red Carpet Studies, where I’ll be breaking down different elements of red carpet beauty and the details that make beauty feel elevated and effortless.

Not just recreating beauty, but understanding it.