is different from Cheng Xiaolou's old student dress, Liu Fengying played the role of Wang Baochuan in "Wujia Po", so her dress is much more complicated.

The two began to put on makeup almost at the same time, and when Cheng Xiaolou's head was finished, she began to paint her eye circles.

The appearance of the Dan role in Peking Opera is very exquisite, and it is also a meticulous work that consumes extremely time and energy. Danjiao includes Tsing Yi, Hua Dan, Ma Dao Dan, and Wu Dan, and their faces and heads must be made up and decorated according to the characteristics of the characters played in the play before taking the stage.

Like Cheng Xiaolou's makeup, Liu Fengying's first step in applying makeup is also to shoot the base color, but her background color is made of red and white makeup oil paint to a tender flesh color, and then patted on her face little by little.

In fact, many people have a misunderstanding, always feel that the background color is not important, just just apply it to the face. In fact, this is not the case, and the shade of background color should be distinguished according to the strength of the stage lighting, the age and identity of the characters.

And when shooting the background color, it is not the same as brushing the wall, just brush and brush a few brushes, but you need to pat it lightly a little bit, and the order is also very particular, first the head, nose, chin, and then pat the cheeks, cheeks and neck.

The shooting must be even, and the eyebrows, nose sockets, corners of the mouth, corners of the eyes and other small parts should be comprehensive, neither too thin in color, revealing the true color of the skin, nor too thick, such as wearing a mask.

Cheng Xiaolou didn't have an exclusive Peking Opera makeup artist before, and he always did his own makeup, so he actually has his own unique understanding of the art of Peking Opera makeup.

This is mainly due to the fact that the span of his previous plays is too large, from Tsing Yi to Lao Sheng, and then to Dahua Face, in the most difficult time, in order to make a living, he even played a harlequin.

Each trade is dressed differently and differently from the others.

The biggest difference between Liu Fengying's makeup and Cheng Xiaolou's old makeup is that the second step is to apply blush, the old student's step is to point red, and the part of the point is the forehead, and the blush on the horn is mainly on both sides of the face, extending to include the whole face.

The blush is also based on bright red makeup oil paint, with a hint of rosy red. Starting at the sides of the eye socket and the bridge of the nose, press down on the eyebrows, patting evenly from top to bottom, from the middle to the sides, from the bottom to the sides, until it blends in with the base color.

When applying blush, the upper eyelid area is the reddest, and the bridge of the nose and the corners of the mouth are connected with the base color naturally, and there should be no obvious red and white boundaries.

In addition to making the face of Jiao'er appear more tense, it is also changed according to the characteristics of the face shape, which plays a role in making up for defects and beautifying the face shape. For example, a round face can elongate the blush up and down, a long face can widen the blush horizontally, and then help the actor change the length of the face shape through the technique of patching.

Of course, with Liu Fengying's appearance of captivating the country and the city, she naturally does not need to be embellished in any way.

After applying the blush, you need to set the makeup, which is also called powder in the jargon. In fact, a thin layer of grease powder is applied to the slapped oil paint, which can fix the shape of the oil paint on the face.

The powder is almost over after the old makeup, and for the makeup, this is just the beginning.

Because they still need to apply rouge after applying powder, although rouge and blush are both red, they are two different things, and the drawing method, technique and expression are completely different.

Rouge is usually applied to the blush area with rouge of colors such as bright red, lotus, and crimson. Again, start with the eye sockets and sides of the bridge of the nose, and gently blend from the top down the eyebrows and from shallow to deep.

The focus should be on the upper eyelids, lower eyelids and cheeks, which are excessively natural and blend in with the undertone.

One of the biggest effects of rouge is to make the face more colorful.

The eyes are the windows of the soul, and they are the key parts of the characters in the play to reveal their hearts.

Therefore, the step of drawing eye circles after applying rouge is extremely crucial, and only by painting a vivid verve can it play a role in setting off the performance of the horns.

The makeup of Peking Opera has always followed the principle of exaggeration, such as the face makeup of the net angle line, which uses exaggerated techniques to the extreme.

The same is true for corner makeup, and the eye circles should also be exaggerated according to the size of the eyes and the fat and thin face shape of the corners.

The makeup artist used a kind of black that Cheng Xiaolou had never seen before, she started from the lower eyelids, and gradually outlined the outline of the phoenix eyes, and the outer corners of the eyes were slightly raised, and a few strokes made Liu Fengying add a touch of heart-pounding charm.

Although eyebrows and eyes are always said in Peking Opera, in fact, eyebrows and eyes are not the same thing.

This can be seen from the time of applying makeup, when the makeup artist puts on Liu Fengying's makeup, he first draws the eye circles and then the eyebrows.

Liu Fengying played the role of Wang Baochuan in the play "Wujia Po", so her eyebrows were depicted as very good-looking willow eyebrows.

Willow leaf eyebrows are also the universal eyebrow shape of Tsing Yi and Hua Dan.

The eyebrows of Wudan and Dao Ma Dan are usually sword eyebrows, and the eyebrows of Cai Dan are generally drawn as figure-eight eyebrows.

The length, thickness, and straightness of the thrush should also be combined with the characteristics of the face shape and facial features of the horns to coordinate and make up for it as a whole.

The final step in the makeup process is lip dotting, which is to outline the upper and lower lips with bright red oil paint. The painting method adopts the principle of using the opposite complement of the angular lips.

For example, if the mouth is large, you can draw a small thin picture, if the mouth is small, you can draw a large thick, if the mouth is bulging, and if you have a deflated mouth, you can draw a drum, so as to give full play to the beautifying effect of the lips.

Of course, when the makeup artist gives Liu Fengying lip nods, it is very simple, just follow the shape of her lips.

Liu Fengying, who nodded her lips, was like a person who had walked out of the painting in an instant, beautiful and incomprehensible, even if she was just sitting quietly in front of the makeup mirror, she couldn't help but feel excited.

Cheng Xiaolou has been in Liyuan for more than 30 years, what kind of beauty has he never seen, he has experienced ups and downs in life, and his heart has long been very calm.

Ke Rao is so calm with his current heart, looking at Liu Fengying in the mirror so closely, there is no reason to come up with the idea of "marrying a wife like Liu Fengying".

As everyone knows, Liu Fengying looked at herself in the mirror, and Cheng Xiaolou, who stood behind her at some point, the heart that had never throbbed in 26 years, and at this time there was also a trace of different feelings for no reason.

Cheng Xiaolou in the mirror did not have a beard, and his eyebrows were full of heroism, like a general who had just returned from a battle. Liu Fengying in the mirror drew her eyebrows and nodded her lips, as if she was Jiao'e waiting for the return of the king.

In the mirror, the two makeup artists next to me couldn't help but be stunned.