place to begin, as the first touch of color on the skin tends to leave the greatest amount. For a wide-eyed look you won't want such intensity at the inner corners.

The coppery brown should not stop precisely at the top of the upper lid beneath the brow. Rather, it should be extended, very subtly and lightly, so that it blends im- perceptibly with your founda- tion. The colors should melt into each other with no tell- tale line of demarcation showing.

Some women use three different shadow colors to make up the upper lid, but I don't like this. There is no way for three colors to look like any- thing but three colors. Two are sufficient: one, the lighter, on the lower part of the lid, to highlight the eye, and the deeper shade from the crease to the brow, to make the brow bone recede and bring depth to the eye.

Eye shadow can also be beautifully used underneath the LOWER LASHES. For this I like the same color-doeskin in this instance-as that used on the lower part of the upper lid. But rather than have it all around the eye, start it at about the middle of the eye, under the bottom lashes, and work it to- ward the OUTER CORNER only. This should be a narrow band of color and can be put on with a PENCIL in a matching shade if your shadow applicator is too thick to give you as fine a line as you would like. Thus, if you consider the eye as an entity, the band of one color will surround it only three- quarters of the way-all of the outline above the eye and half below. This is an extremely pretty effect on many women, but it must be done with in- finite care so the result is subtle and refined.

Especially women who wear glasses should take the time to perfect all the procedures for the lower eyelid (including

instructions for liner and lashes still to come) because glasses tend to obscure this area and makeup can bring it alive again with added interest.

Again, application must be impeccable, because the makeup will seomtimes be mag- nified by the lenses. If you use nothing, it will look like nothing- blah; but if you use too much, it will look like MUCH too much.

.EYELINERS.

Let's take the matter of EYELINERS now. One thing should be made very clear at the outset when talking about eyeliners, and that that is their purpose. EYELINERS ARE MEANT ΤΟ MAKE THE LASHES LOOK THICKER. A hard line of color totally sur- rounding the eye is unattrac- tive; it looks like what it is-- a harsh, obviously painted-on line (nobody was born with it!), a garish smear of color. This is not a flattering, believable look.

But eyeliner properly applied (and it does take a little practice) can achieve a devasta- tingly soft, sexy look that I love. The first step toward mastering this technique is STOP WORRYING ABOUT MAKING A PERFECT LINE. What you DO want is to get the liner as close to the roots of the upper-lid lashes as possible. A tiny-tipped brush comes with CAKE EYELINER; use it after the cake has been wetted. Or you can use the AUTOMATIC EYELINER if you prefer. It also comes in liquid form, which needs a a brush, but with the cake you have have much more control of the amount of liner that you get on the brush. That makes proper application much easier, because the cake dries quickly, whereas the liquid tends to get thick after it's applied.

The liner can be applied as a continuous line or even as a series of dots or dashes, as I

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suggested in "Makeup in Min- utes.' In any case, you now have the liner on, almost from corner to corner of the upper eyelid, hugging the lashes. Now, quickly before it dries com- pletely, with a slightly wider sable-type brush, deliberately SMUDGE the eyeliner. Smudge it slightly, clean off the brush, smudge it again, apply a little more liner, and smudge just a few times until you achieve a smoky, soft effect, the liner blurred from its straight line, and you will have gotten a subtle, lash-thickening look that is the most stupendous kind of flattery for the eye. And it is so subtle, no one can really see that it's there. But the EFFECT is there, and that is what lovely makeup is about.

Now when you lower your lids to look at something on your desk or to read a menu, the effect is soft, not startling. Just contrast that with the appear- ance of the thin, hard, dark line painted so unnaturally across your lids. You have added depth and mystery to your eyes, not another product sitting on top of your skin.

or

The same devastating look can be continued under the LOWER LID, but with a dif- ferent application technique. With the very point of the tiny eyeliner brush PAINT THREE OR FOUR DOTS at the roots of the lower lashes, starting at the outer corner and going about to the center of the eye. Then, with your FINGERTIP a COTTON SWAB, touch all the dots and SMUDGE again. When you add your mascara, you will look as if you have the thickest, fullest lashes in the world. Eyeliner also be PENCIL, and, here, before we get to mascara and lashes, is another way to use the pencil liner. Use a pencil in a color such as skipper blue, and hold- ing the eye area taut with the fingers, pencil in the rim just above the lashes with a soft,

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