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[Requested] The Black-and-White: Soft gray-scale smoke with graphic Black and White Liquid Liner

This is a simple white-and-black smoky eye with a more dramatic graphic liner twist. The eyeshadow isn’t hard to do, and is something that you can easily wear out, but the liquid liner is slightly trickier and it’s also not always hard to locate a very strongly pigmented white liquid liner, so it’s optional whether you want to follow the look exactly or just keep it simple and either skip the liquid liner, or only do the black.

For a basic liner application guide, look here.

The same rules apply when you are applying liquid and gels/creams. 

Products used:

  • 88 Warm palette (3 shades used; matte white, black, and a deep metallic grey)
  • Lime Crime Uniliners in Quill (black) and Lunar Sea (matte white)
  • Black mascara (L’oreal Voluminous Carbon Black)
  • White eye pencil (Revlon Khol pencil in White)

If you’re looking for budget white liquid liners, Prestige used to have one, but I am not sure if it is still available. Unfortunately, most of the good matte whites I know are from more expensive brands like Illamasqua, Stila and Lime Crime. 

Step 1: First, prime your lids as you’ll be working with matte textures. Then apply a matte white shadow to the inner half of the lids, and the brow bone. 

 Step 2: On the outer half of the lids, apply a matte black shadow. Smoke it gently up to the hollow of the socket line, but no further. Run it down along the outer 1/3 of the lower lash line as well.

Step 3: Using a metallic grey, sweep along the socket line as a “transition” shade between the lids and the brow bone, and bring the whole look together. 

Step 4:  [Optional] Using your white liquid liner, first draw a thick swatch along the inner half of the upper lash line, making it thick at the center and thin at both ends. 

Then following the angle of your lower lash line, draw in a flick at the outer corner. Don’t worry about making it too thick. You just want to make sure the white is very opaque.

Step 5: The black liner is next, and this is the trickiest part to the whole look so if you’re in a rush or not too sure about it, just do a regular black flick.

If you’re game to try the sci-fi look, you’ll need a steady hand (or a lot of practice and patience.)

You want to set your brush down in the center of the lid and work your way out to the flick first. This allows most of the product to be deposited on the outer half of the lid, so by the time you work your way to the inner halves, there is less product on the brush and you can get a very fine line right at the lashes.

ERASING ERRORS: There really isn’t much room for error here. If you overlap the white or mess up your line a little, you can go over with the white just to “clean up” a little.

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Step 6: Along the lower water line, run a matte white pencil all along until it meets and fades into the white liquid liner at the outer corners. This just ties the whole look together.

Step 7: Curl lashes and apply black mascara. 

Lime Crime Cosmetics

Here is the last review I’ll ever do on Lime Crime’s products.

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Lime Crime is mostly known for the lipsticks. I don’t find them drying at all and I love the creamy consistency of them. I find they’re actually pretty opaque and I love the smell.
The things I don’t like about them is the pretty packaging tends to crack. Of the 19 I own (yes that’s all of them) 8 have cracked lids and that’s happened by them just being in storage. Some have cracked in my bag but one came cracked and the others have cracked just by taking the lid on and off the tube.
I also find Posionberry tends to bleed when applied without a lip liner but that’s the only one. The other issue with the lipsticks is the swatches, they’re much more accurate than they used to be but they’re still not good.

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As for the glosses we have the same issue with the swatches. They started off terrible but have gotten better over time. However they’re still not a great representation of the actual product. They’re certainly not as opaque as the swatches. You need several layers to make them that opaque and that makes the product goopy and unwearable.
They stain and I like that but some people won’t. The fact that the glitter particles are so big can make it quite scratchy but that’s not a huge issue. I like the stubby brushes and the control that gives me but they do tend to fray.

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I adored the uniliners. I find them super easy to apply and the brush makes it easy for me to make a sharp angled point. Now I used the past tense for a reason.
When I started using them I knew the brightly coloured ones were not as opaque as they could have been. It wasn’t too much of an issue I just went over it again. That’s not the problem. Neither was the fact the bristles on the brush tend to flare out and need to be clipped so they don’t cause stray marks. They’re also not smudge proof or waterproof despite claims to the contrary. Quill is simply awful when taking it off. I’ve never had panda eyes like it with any other product.
The serious issue I have is they start to make my eyes sore by the end of the day. It was only when I started using them on a regular basis I noticed how sore my eyes were. I stopped using them and it went away.  This could be a couple of ingredients that are used in the liners but I can’t be sure which ones.

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The eye shadows have various issues. First off the swatches are terrible; really really don’t go by those on the site. You need to check out fan swatches.  The alchemy shadows are the worst for this. None of them looks like that in person. They’re not even close. Speaking of the alchemy shadows, they’re not duochome at all. They’re more like shimmer shadows. Video review here.
 The quality isn’t great for the huge price you pay. The lighter and matt shades are chalky and as a result when you put them on your eye then end up a lot darker than they are in the tin. I’ve also found mixing medium in them. Not a great show of quality.

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The zodiac glitters are lovely. I have very little bad to say about them but they aren’t cut for use on the eyes. They’re very irregular shapes if you look closely. Don’t use them on the eye area.

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The primer is amazing. It holds colours well and lasts all day. It now comes in a squeesy tube for ease of use. The original primer in the round pot contained beeswax (not a vegan ingredient). When they reformulated it they gave it a new tube. I find the current primer much better then the original. It’s slightly less sticky but that doesn’t mean it doesn’t keep eye shadow on all day.

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The nail polish is no longer available in the UK but I did manage to get it before it vanished. I do like it. The colours are unusual and I can’t really find good dupes for them. They’re 3 free and in my experience they’re chip resistant. However they suffer awfully from separating issues and need a good mix before using. The only other issue with these is Pastelchio. I love this colour but it stains your nails. Even with a good base I was left with yellowy stained nails that made me look like a life long smoker.

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Finally Velvetines. This is the product that turned me onto long stay matt lipsticks. While I like these it is overly expensive for what it is and it doesn’t even stay put properly. It might be touch proof but it’s not smudge proof. It’s also only touch proof as long as it’s not applied over lip liner or lip balm. There are much better versions out there for a whole lot less (Sleek, MUA, NYX).  
I am also not assured that it was vegan. The formula has recently changed and it removed the offending ingredient petrolatum. This also seems to have had a side effect of making it less opaque but does seem to make it more smudge proof.

So that’s my personal experience with Lime Crime products. I hope you found some of this useful.

Dorothy Garrod indentificó en el Levante Mediterráneo (1951) una industria transicional a la que llamó emiriense en referencia al sitio palestino de El Emireh, descubierto por Turville-Petre (Garrod 1951, 1955). Neuville (1934) había llamado Fase I a conjuntos similares, dentro de un sistema unilinal de evolución industrial de seis fases. Ewing (1947) había descrito una situación similar en Ksar Akil (Líbano) que clasificó en el chapelterroniense.

En la actualidad estas denominaciones han sido abandonadas, incluyendo estos hallazgos en el Paleolítico Superior Inicial (IUP) (Bar-Yosef y Kuhn, 1999; Kuhn et al, 1999, 2009; Kuhn 2003). Ver Marks 2003 y Leder 2013 para otras aproximaciones.

  • Copeland (1975) sugiere que en estos conjuntos se utilizan técnicas del Paleolítico Medio para producir herramientas del Paleolítico Superior. Kuhn (2003) y Kuhn et al. (2009) ven el IUP como una industria del Paleolítico Superior en sentido extenso que utiliza métodos tipo Levallois par la producción de hojas.
  • Se pueden distinguir varios morfotipos característicos:
  • Punta emiriense (Levallois, escamas triangulares retocadas)
  • Chaflán: escamas y hojas con desprendimiento en la terminación distal de una escama perpendicular al eje más largo (Garrod, 1951; Newcomer, 1970; Azoury, 1986; Marks, 1990; Ohnuma y Bergman, 1990; Bar-Yosef, 2000; Kuhn, 2003).
  • Puntas Umm el Tlel (Shea 2008).
Además, los conjuntos IUP se caracterizan por un inventario del Palelítico Superior de herramientas retocadas junto con un significativo número de tipos del Paleolítico Medio y estrategias de reducción siguiendo los conceptos Levallois y/o Laminar. La mayor parte de las hojas, frecuentemente con bordes convergentes, son anchas, no muy regulares, con plataformas facetadas, e indican todavía la utilización de la técnica de martillo duro en gran proporción. En base al kit de herramientas líticas, y la presencia de puntas de hueso y conchas perforadas, especialmente en sus fases más evolucionadas en Ksar Akil y Üçağızlı, el tecnocomplejo IUP es ahora visto como una entidad arqueológica de larga duración en vez de una débil fase de transición.  El IUP se ha identificado en un pequeño número de sitios en el Líbano, Palestina, Israel, y el sur de Jordania, incluyendo el-Wad, Emireh, Kebara, Abu Halka, Raqefet, Tor Sadaf, Umm el-Tlel, BokerTachtit, Ksar Akil, y Üçağızlı (Goring-Morris y Belfer-Cohen 2003). A pesar de que el estudio de esta industria es de la mayor importancia, su fuente cultural y demográfica, sigue sin resolverse
  • Se han encontrado conjuntos similares en una amplia área, desde las Montañas Altai (Derevianko et al, 2000) al nordeste de Asia (Brantingham et al, 2001) y noroeste de China (Shuidonggou 1 y 2) (Brantingham et al, 2001; Li et al, 2013) y se han descrito paralelos tecnológicos con el IUP y Bohuniciense de Europa Central (Kozłowski, 1990; Demidenko y Usik, 1993; Tostevin, 2003).
  • El origen del IUP está en disputa, debido principalmente a las discontinuidades estratigráficas en los lugares donde ha sido encontrado (Copeland, 2003).
  • Desarrollo a partir del musteriense local, por fabricantes indígenas (por ejemplo, Ewing, 1947; Garrod, 1951, 1957; Copeland, 1970; Azoury, 1986; Bar -Yosef y Belfer-Cohen, 1988; Ohnuma, 1988; Gilead, 1991; Demidenko y Usik, 1993; Marks, 1993; Fox, 2003).
  • Esta interpretación es coherente con un desarrollo local del HAM a partir de formas arcaicas.
Tradición del nordeste de África.
  • Se presume que el “Corredor Levantino” ha sido el conducto principal de intercambio demográfico entre África y Eurasia durante MIS 3, que comenzó hace ca 50 ka. Las manifestaciones más tempranas conocidas del IUP fuera de África datan de hace ca 50 ka, en el Levante Mediterráneo Sur y se propaga posteriormente hacia el norte (Leder, 2013). 
  • Dada la asociación de restos de HAM con los conjuntos del IUP, los investigadores a menudo vinculan la transición del PM al PS con una afluencia de grupos africanos (por ejemplo, Bar-Yosef, 1987; Tostevin, 2000; Meignen y Bar -Yosef, 2005; Douka et al, 2013). 
  • Maxilar neandertaloide de Ksar Akil nivel XXV, aunque asignado a HAM (Douka et al. 2013).
  • Algunos dientes de Üçağızlı (Güleç et al, 2007; Kuhn et al, 2009).
Origen en el Este cercano (Marks y Volkman, 1986; Tostevin, 2003). Fusión de tradiciones líticas indígeneas y exógenas a partir de una o varias regiones adyacentes (por ejemplo, Van Peer y Vermeersch, 2007; Van Peer et al, 2010; Meignen, 2012).
  • Esta interpretación es coherente con el remplazo con alguna mezcla entre arcaicos y modernos (por ejemplo, Ahrensburg y Belfer-Cohen, 1998; Hawks y Wolpoff, 2001).
  • Si bien es claro que los HAM y los neandertales estaban presentes en el Levante Mediterráneo con anterioridad (por ejemplo, Stringer, 1974; Stringer y Andrews, 1988; Tillier, 1992; Hublin, 2000), las relaciones bioculturales entre estos grupos (por ejemplo, Clark y Lindly, 1989; Kramer et al, 2001; Caspari y Wolpoff, 2013) y la cronología (por ejemplo, Shea 2007; Hovers y Belfer-Cohen, 2013) están lejos de ser resueltos. La evidencia genética indica un bajo nivel de hibridación entre el HAM y los neandertales (Green et al, 2010, Durand et al, 2011; Hammer et al, 2011;. Reich et al, 2011;. Skoglund y Jakobsson, 2011; Alves et al, 2012; Meyer et al, 2012; Neves y Serva, 2012; Sankararaman et al, 2012, 2014; Vernot y Akey, 2014) y se ha sugerido que esta mezcla se produjo en el Levante Mediterráneo entre 60-40 ka (Yotova et al, 2011; Sánchez-Quinto et al, 2012).
Jeffrey I. Rose y Anthony E. Marks han analizado las características tecno-tipológicas del IUP del Levante Mediterráneo comparándolas con las del PM Final y con los conjuntos contemporáneos de los lugares próximos del noreste de África y la Península Arábiga, con el fin de identificar la superposición de características culturales y antecedentes posibles.

Según sus conclusiones:
  • El IUP del Levante Mediterráneo representa una fusión de elementos locales musterienses con estrategias de reducción del Levallois del Complejo Nubio temprano del Valle del Nilo, que se extendió por la Península Arábiga durante el Último Interglacial y se desarrolló hace entre 100- 50 ka. El conjunto completo de características tecnológicas visto en el IUP no se encuentra en ninguna industria nilótica. 
  • Las trayectorias tecnológicas de Arabia y el sur del Levante Mediterráneo pueden haber estado entrelazadas. Contrariamente a la hipótesis de una dispersión de la población de África subsahariana después de 70 ka lo largo de la costa (Stringer, 2000; Mellars, 2006, 2013; Oppenheimer, 2009), los registros arqueológicos de Arabia sugieren movimientos demográficos mucho más complejos (por ejemplo, Rose 2006, 2007; Bailey, 2009; Crassard, 2009; Rose y Usik, 2009; Armitage et al, 2011; Rose et al, 2011; Delagnes et al, 2012; Petraglia et al, 2012, 2013). Se han descubierto una amplia variedad de conjuntos lìticos del PM, algunos de los cuales pueden ser considerados como potenciales fuentes demográficas y/o culturales del IUP del Levante Mediterráneo.

Enlace

Paleolítico Superior Inicial (IUP) del Levante Mediterráneo

Eye details of yesterday’s #makeup. Started with @maccosmetics Beige-ing shadestick before setting with @rimmellondonuk stay matte powder. Shadows are from @urbandecaycosmetics #NakedBasics palette as well as @illamasqua #Disobey blush to help blend out the darker shades. Lower lash line is Disobey and @urbandecaycosmetics #Corrupt pencil. Liner is @limecrimemakeup #6thElement uniliner set with @urbandecaycosmetics #Savage shadow from the #ElectricPalette. Inner corner is a mixture of pigments from @maccosmetics in #Vanilla and #PinkBronze. Eyebrows are @maybellinenyuk #ToughAsTaupe 24 hour color tattoo. 🎃❤ #Halloween #HalloweenMakeup #MUOTD #LimeCrime #Illamasqua #UrbanDecay #Maybelline #MAC #MACCosmetics #Rimmel #OrangeLiner #WingedLiner #Gothic #ModernGoth #Batalash #Pixiwoo

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A project picture from our Lighting Bible 9 was the initial inspiration for this project. In our Delta Light showroom in Amsterdam, we’ve worked out a light plan with MOOD Interieur for the renovation of the Rotam Vastgoed offices in Breda. Domesticity, professionality, atmosphere and sustainability was the central focus in this project.

Throughout the entire project, our Minigrid REO was consistently used for the basic lighting, supported by the custom made UNILINE profiles. The eye-catching light of the combined VISION on the wall was immediately appreciated.

Haaay Violet Glitter Fairies!!!

Goldie Glitter liner is a must!!!

@sparkleoflight -amazing brows!!!

🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟
Fierce 💜 ✨Follow Me For Daily Uploads!✨ I recently had some issues with my camera, I’m sorry. I’ll try to fix it and upload more soon. #sparkleoflight Products used on the eyes: ▫️ HM - Lashes • Long

▫️ Violet Voss - Glitter • Goldie ▫️ Limecrime - Uniliner • Rhyme ▫️ Makiash - Volume & Length Mascara 💜 ▫️ Motives Cosmetics - Eye Base ▫️ Motives Cosmetics - Eyeshadows • Pearl, Vanilla, Fantasy ▫️ Motives Cosmetics - LBD Liner🙌 ▫️ Motives Cosmetics • Motives for La La Waterproof Eye Pencil • Medium Brown, Dark Brown ▫️ Motives Cosmetics - Brow Perfecting Gel • Dark Brown ▫️ Motives Cosmetics - Khôl • Onyx ▫️ Kiko - Blue Eyeshadow ▫️ YSL - Le Teint Touche Éclat • B40 ▫️ Dior - Forever • 010 ▫️ Benefit - Erase Paste • Light ✨Follow Me For Daily Uploads!✨ (at 🎀shopvioletvoss.com🎀)

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