Celebrity Makeup Artist, Pati Dubroff, Weighs in on Photoshop Sophia Elias
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A few years ago I read about how you could apply fake makeup through Photoshop. I’m curious to know what a real makeup artist’s opinion is on that.

PD: Sometimes I’ll look at a photograph where I know I was in the room…I did the makeup. But I have to go back and read the credits because, I think, “Did they re-shoot that? Because I didn’t use that lip color.” It’s happened with covers. Recently, I had to go back and read the credits thinking, “Maybe they re-shot this with another makeup artist. Maybe they didn’t like the makeup…because I used a blue bordeaux-red, and here on the cover it’s an orange-red.” They changed the lip color so that it would be more harmonious with the art direction they were going in. Then there’s other times where you’re doing really tight beauty [shots] where there’s a space between the lashes. You don’t want to add a fake lash in there, so you go and you show the person who’s in charge of the computer [and say], “Break up that clump,” or “Add a lash there.” So, sometimes, if you can be a part of the process of helping things to look their best, it can be a great tool. Then again, it can change up your artistic expression.

What do you have to say to folks who consider makeup the original Photoshop? Do you think the two are comparable at all?

PD: Well that’s the purpose of makeup – to kind of perfect. And that’s the purpose of Photoshop. When you see photographs from the ’30s, they were correcting images. They were doing it more manually, but they were doing it to perfect and correct photographs. So it’s been done for a long time. It’s just now done quick and fast and with the help of a computer.

Lastly, what inspires you as an artist?

PD: Well, it depends on what I’m needing inspiration for. For instance, for the Met Ball, I was looking at a lot of pictures of the Renaissance and Botticelli. And then I went into the Victorian age. There was this theme I was looking for where the skin was really creamy, the cheeks were really flushed and the eye was really soft. So it was helping to give cues to what I would then translate for a red carpet look. Other times I look more specifically at film icons or periods of film – getting the vibe and energy of that and how to translate that into makeup….or very specifically, what an eyebrow shape should look like. Other times…it sounds kinda corny, but seeing a flower and thinking “that pink in that peony would be the most beautiful color on a lip.” But, very often the thing that inspires me the most is the face that’s in front of me. It goes back to: what’s the thing on this face that I want to draw all the attention to? And it should always come back to that. You can’t have those ideas if it doesn’t have anything to do with that person’s structure or coloring.

Thank you, Pati!

Featured image via patidubroff.com

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