About classes for makeup artists / aesthetic professionals or the full-body Foundation Class

About the upcoming class for makeup and aesthetic professionals:

We have different makeup styles and different purposes for applying makeup; these are personal matters. However, in the upcoming course, we will come together to discuss the most fundamental aspect—something that everyone, regardless of style or level of skill, must always understand: "The natural characteristics of the human face".

What is the face? What properties does it have? How are the eyes, nose, mouth, ears, and eyebrows structured? Why does one area of the face tend to protrude while another tends to recede? What defines large eyes or a small nose? In which direction should eyebrows be drawn, and why that direction? How wide should the mouth be to remain harmonious? Why should highlights be placed in one area and shadows in another?

All the questions that have taken shape in your mind, as well as the vague uncertainties you may have carried for years, will be addressed in this course. A vast amount of theory, involving dozens of terms, concepts, and definitions, will help you understand what you are doing and enable you to progress further in your work.

About the Full-Body Class for Students Oriented Toward Fine Arts:

Fine art that is oriented and constructed on the basis of scientific knowledge is not free-floating or arbitrary. It is anchored by a series of questions such as: Why use this color or that line? Why draw this area rather than another? Why does this line curve to that particular degree? What causes one area to appear dark while another appears light? There are many questions that require answers in the form of formulas and principles that cannot be denied. Over time, through consistent practice, these principles become instinctive, forming fertile ground upon which a personal style can develop.

Artistic Anatomy aims toward accuracy in fine art and in artistic and design practice. It is about knowing objective reality precisely in order to act accurately according to one’s subjective intention—not learning in a way where knowing A means only doing A, or knowing B means only doing B. The accuracy repeatedly emphasized here is reinforced through a rigorous method of practice: “No pencils allowed.” Pencil lines are easily smudged and easily erased, and for that reason mistakes linger like ghosts, haunting drawing learners for years. This leads people to instinctively avoid errors by erasing as quickly as possible and progressing merely by drawing with a heavier hand, rather than understanding why the final result turns out the way it does.

However, this does not mean that pencils are being criticized. We must be honest: pencils are suitable for drawing beautifully, but drawing accurately requires the use of a few ballpoint pens that may be lying forgotten somewhere in a corner of the house or a drawer, or a few ink pens that only occasionally see use. These tools—where every line is final and irreversible—are precisely the most effective instruments during this formative stage.

Artistic anatomy constructs a narrow, suffocating room and places the learner inside it. Within this space, they must manage under strict principles of right and wrong—nothing more, nothing less. Once they are able to step out, they become exceptionally cautious; their eyes grow sharper, and their hands no longer draw even a second incorrect line.