Wet-To-Dry Eye Shadow: A Guide

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Wet-To-Dry Eye Shadow: A Guide
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For more advanced players, Vincent suggests moving on to straight pigment (MAC or even OCC's Pure Cosmetic Pigments). With the added moisture, they'll become easier to layer with other products.

Wet-To-Dry Eye Shadow: A Guide
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The joy of a wet-to-dry is you have to get it right amount of product loaded up, and then it blends itself.

Wet-To-Dry Eye Shadow: A Guide
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Source: And as the day advanced and the engine drivers and stokers refused to return to London, the pressure of the flight drove the people in an ever-thickening multitude away from the stations and along the northward-running roads. By midday a Martian had been seen at Barnes, and a cloud of slowly sinking black vapour drove along the Thames and across the flats of Lambeth, cutting off all escape over the bridges in its sluggish advance. Another bank drove over Ealing, and surrounded a little island of survivors on Castle Hill, alive, but unable to escape. So he got out of the fury of the panic, and, skirting the Edgware Road, reached Edgware about seven, fasting and wearied, but well ahead of the crowd. Along the road people were standing in the roadway, curious, wondering. He was passed by a number of cyclists, some horsemen, and two motor cars. A mile from Edgware the rim of the wheel broke, and the machine became unridable. He left it by the roadside and trudged through the village. There were shops half opened in the main street of the place, and people crowded on the pavement and in the doorways and windows, staring astonished at this extraordinary procession of fugitives that was beginning. He succeeded in getting some food at an inn. For a time he remained in Edgware not knowing what next to do. The flying people increased in number. Many of them, like my brother, seemed inclined to loiter in the place. There was no fresh news of the invaders from Mars. At that time the road was crowded, but as yet far from congested. Most of the fugitives at that hour were mounted on cycles, but there were soon motor cars, hansom cabs, and carriages hurrying along, and the dust hung in heavy clouds along the road to St. Albans. It was perhaps a vague idea of making his way to Chelmsford, where some friends of his lived, that at last induced my brother to strike into a quiet lane running eastward. Presently he came upon a stile, and, crossing it, followed a footpath northeastward. He passed near several farmhouses and some little places whose names he did not learn. He saw few fugitives until, in a grass lane towards High Barnet, he happened upon two ladies who became his fellow travellers. He came upon them just in time to save them. He heard their screams, and, hurrying round the corner, saw a couple of men struggling to drag them out of the little pony-chaise in which they had been driving, while a third with difficulty held the frightened pony's head. One of the ladies, a short woman dressed in white, was simply screaming; the other, a dark, slender figure, slashed at the man who gripped her arm with a whip she held in her disengaged hand. My brother immediately grasped the situation, shouted, and hurried towards the struggle. One of the men desisted and turned towards him, and my brother, realising from his antagonist's face that a fight was unavoidable, and being an expert boxer, went into him forthwith and sent him down against the wheel of the chaise. It was no time for pugilistic chivalry and my brother laid him quiet with a kick, and gripped the collar of the man who pulled at the slender lady's arm. He heard the clatter of hoofs, the whip stung across his face, a third antagonist struck him between the eyes, and the man he held wrenched himself free and made off down the lane in the direction from which he had come. Partly stunned, he found himself facing the man who had held the horse's head, and became aware of the chaise receding from him down the lane, swaying from side to side, and with the women in it looking back. The man before him, a burly rough, tried to close, and he stopped him with a blow in the face. Then, realising that he was deserted, he dodged round and made off down the lane after the chaise, with the sturdy man close behind him, and the fugitive, who had turned now, following remotely.
Wet-To-Dry Eye Shadow: A Guide
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This all depends on exactly what you want to do. "Mind the resistance," Vincent says, particularly if you're looking for uniform color across the lid. "I tend to recommend a blender brush, which is the brush that looks like a feather duster.

Wet-to-dry eye shadows need not be complicated. While it might sound like yet another technique one must master in order to navigate a makeup counter, perhaps it’s better to think of it as a two-for-one deal.

Wear it dry, and you’ve got your standard dusting of color—classic and predictable (in a good way). But wet! Wearing it wet opens a whole new world of opportunity. “What you’re doing is bringing out the pigmented nature of the shadow,” makeup artist Vincent Oquendo says. “Whenever I wet an eye shadow, it’s when I really want it to pop—but it really has to be a special kind of product to be able to blend after it sets. Because a lot of the times when it sets, you get streaking.” Nobody wants that. In order to avoid any wet shadow mishaps, follow these guidelines:

Product

It's like insurance, Vincent says. "You're doubling your wearability."
It’s like insurance, Vincent says. “You’re doubling your wearability.”

First, go with the obvious: any eye shadow labeled wet-to-dry. The Nars Dual-Intensity line is the standout—the singles come in 12 different shimmery shades, and there’s a corresponding brush (then there’s the newly released Dual Intensity Blush line, which was all over Fashion Week—but that’s a product for another post). Burberry also makes a few very versatile shades specifically for this in their Wet & Dry Silk Shadows. And the technique-specific eye shadow category isn’t just a ploy to get you to buy more product. “You can’t just use any eye shadow for this,” Vincent says. “Certain ones will harden up on top and become unusable because they’re not made for this.”

Baked shadows are also fair game—we’re fans of Laura Mercier’s Baked Eye Colour Wet/Dry and Lorac’s Starry-Eyed Baked Eye Shadow Trio in particular.

For more advanced players, Vincent suggests moving on to straight pigment (MAC or even OCC’s Pure Cosmetic Pigments). With the added moisture, they’ll become easier to layer with other products. For a look with more depth, try using a cream shadow as a based before swiping with a wet powder shadow. “It’s like insurance,” Vincent says. “You’re doubling your wearability.

Brush
This all depends on exactly what you want to do. “Mind the resistance,” Vincent says, particularly if you’re looking for uniform color across the lid. “I tend to recommend a blender brush, which is the brush that looks like a feather duster. If you do it with a stiff brush, you’re defeating yourself before you even start. The joy of a wet-to-dry is you have to get it right amount of product loaded up, and then it blends itself. If the brush is too stiff, it will leave the shadow streaky and then much harder to control.”

However, if tightlining or waterlining is in the cards, a much thinner brush is required accordingly.

Liquid
Do not, repeat, do not put eye drops, water, or any other sort of liquid directly on your eye shadow. This’ll screw up your product for later use. “Lately, I’ve been wetting the brush with the Glossier Soothing Face Mist, but Evian Mineral Water Spray is good for sensitive eyes,” Vincent says. If the top of your powder does get a little hardened by wet application, there’s a trick to remove it: Get a clean mascara spoolie and “exfoliate” your compact, Vincent recommends. This won’t crack the compact and will make it ready to go once more.

Photographed by Tom Newton.

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