Systems and methods for generating and providing tutorials

Abstract

The present disclosure provides systems and methods for generating and providing tutorials based on received digital content. The received digital content may include videos or images that include the face of at least one user. Based on the detected face, the system can automatically determine the position and / or shape of facial features, such as the frontal bone, mandible, eyes, and lips. In some examples, the system can execute an artificial intelligence model to objectively determine the position and / or shape of the facial features. The facial features are then used to identify user-specific tutorials. The tutorials may include, for example, methods for applying makeup based on the determined position and / or shape of the facial features. In some examples, the tutorials may be further refined based on the lighting conditions in which the makeup will be worn.

Description

MAKEUP-001SYSTEMS AND METHODS FOR GENERATING AND PROVIDING TUTORIALS CROSS-REFERENCE TO RELATED APPLICATIONS

[0001] The present application claims the benefit of the filing date of U.S. Provisional Application No. 63 / 716,477, filed November 5, 2024, entitled Systems And Methods For Generating And Providing Tutorials, the disclosure of which is hereby incorporated herein by reference.BACKGROUND

[0002] People have unique face shapes based on their unique position and / or shape of the facial features that make up their face. However, makeup application is typically performed by users without consideration of the position and / or shape of the facial features. Rather, a one size fits all approach is typically taken regarding the application of makeup. Moreover, makeup application and associated color choices of said makeup are done without consideration of the lighting conditions in which the makeup is to be worn. This can result in the makeup looking complimentary in some conditions but non- complimentary in others.BRIEF SUMMARY

[0003] The present disclosure provides systems and methods for generating and providing tutorials based on received digital content. The received digital content may include videos or images that include the face of at least one user. Based on the detected face, the system can automatically determine the position and / or shape of facial features, such as the frontal bone, mandible, eyes, and lips. In some examples, the system can execute an artificial intelligence model to objectively determine the position and / or shape of the facial features. The facial features are then used to identify user-specific tutorials. The tutorials may include, for example, methods for applying makeup based on the determined position and / or shape of the facial features. In some examples, the tutorials may be further refined based on the lighting conditions in which the makeup will be worn.

[0004] One aspect of the disclosure is directed to A method, comprising receiving, by one or more processors, digital content, identifying, by the one or more processors, a face in the digital content, determining, by the one or more processors based on the identified face, at least one of a shape or configuration of one or more facial features, identifying, by the one or more processors based on the determined at least one of the shape or configuration, one or more tutorials, wherein each identified tutorial corresponds to a specific shape or configuration of a given facial feature, and providing for output, by the one or more processors, the identified one or more tutorials.

[0005] The received digital content may include at least one of an image or video. The one or more facial features may comprise one or more of eyes, lips, mandible, or frontal bone.

[0006] When the one or more facial features comprise eyes: the shape of the one or more facial features comprises small, deep-set, bulging, downturned, small deep-set, small downturned, small deep-set downturned, deep-set bulging, deep-set downturned, deep-set bulging downturned, bulging downturned, small bulging, small deep-set bulging, small bulging downturned, or small deep-set bulging downturned, true, and the configuration of the one or more facial features comprises close-set or wide-set.MAKEUP-001

[0007] When the one or more facial features comprise lips: the shape of the one or more facial features comprises downturned uneven average, uneven average, flat average even, small / thin even, large / full even, even average, downturned uneven flat average, downturned uneven flat small / thin, downturned uneven flat large / full, downturned uneven small / thin, downturned uneven large / full, uneven flat average, uneven flat small / thin, uneven flat large / full, flat small / thin even, flat large / full even, small / thin uneven, or large / full uneven, and the configuration of the one or more facial features comprises normal condition or dehydrated condition.

[0008] When the one or more facial features comprise frontal bone the shape of the one or more facial features comprises oval, small square, round, square, or triangle.

[0009] When the one or more facial features comprise mandible the shape of the one or more facial features comprises oval, small square, round, square, or triangle.

[0010] When determining the at least one of the shape or configuration of the one or more facial features, the method may further comprise determining, by the one or more processors executing an artificial intelligence model, the at least one shape or configuration of the one or more facial features based on the received digital content being provided as input to the artificial intelligence model.

[0011] The method may further comprise receiving, by the one or more processors, one or more lighting conditions. The identified one or more tutorials may be further identified based on the received one or more lighting conditions. The identified one or more tutorials may comprise an indication of colors based on the received one or more lighting conditions. The one or more lighting conditions may comprise one or more of natural light, fluorescent light, or incandescent light.

[0012] The tutorials may be directed to applying makeup based on the determined at least one of the shape or configuration of the one or more facial features. The tutorials may be user-specific and provided for output as an overlay on the identified face.

[0013] Other implementations of this and other aspects include corresponding computer systems, apparatus, and computer programs recorded on one or more computer storage devices, each configured to perform the actions or operations of the methods.BRIEF DESCRIPTION OF THE DRAWINGS

[0014] Figure 1 is a block diagram illustrating an example device, according to aspects of the disclosure.

[0015] Figure 2 is a functional diagram of an example system, according to aspects of the disclosure.

[0016] Figure 3 are example frontal bone shapes, according to aspects of the disclosure.

[0017] Figure 4 are example mandible shapes, according to aspects of the disclosure.

[0018] Figures 5A-5D are example eye shapes, according to aspects of the disclosure.

[0019] Figures 6A and 6B are example lip shapes, according to aspects of the disclosure.

[0020] Figure 7 is an example display screen for an application that, in conjunction with artificial intelligence model(s), can provide tutorials for applying makeup, according to aspects of the disclosure.

[0021] Figures 8A-8E illustrate example tutorials for different shapes of the frontal bone for output via the example display screen and / or application of Figure 7, according to aspects of the disclosure.MAKEUP-001

[0022] Figures 9A-9E illustrate example tutorials for different shapes of the mandible for output via the example display screen and / or application of Figure 7, according to aspects of the disclosure.

[0023] Figures 10A-10P illustrate example tutorials for different shapes of close-set eyes for output via the example display screen and / or application of Figure 7, according to aspects of the disclosure.

[0024] Figures 11A-11P illustrate example tutorials for different shapes of wide-set eyes for output via the example display screen and / or application of Figure 7, according to aspects of the disclosure.

[0025] Figure 12A-12R illustrate example tutorials for different shapes of lips for output via the example display screen and / or application of Figure 7, according to aspects of the disclosure.

[0026] Figure 13A-13R illustrate additional example tutorials for different shapes of lips for output via the example display screen and / or application of Figure 7, according to aspects of the disclosure.

[0027] Figure 14 is an example display screen of the application of Figure 7, according to aspects of the disclosure.

[0028] Figure 15 is a flow diagram of an example process for generating and providing tutorials in conjunction with the system of Figure 3 and the application of Figure 7, according to aspects of the disclosure.DETAILED DESCRIPTION

[0029] The present disclosure relates to systems and methods that provide for automatical I y determining the positioning and / or shape of facial features from image data of a user and providing a tutorial for applying makeup specific to the position and / or shape of the facial features of the user. For example, the system may receive image data corresponding to an image of the user. The image data may be, for example, a picture, an image sti 11 taken from a video, a video, or the like. The system may process the image data, such as by executing an artificial intelligence (Al) model, to identify the facial features in the image data. The facial features detected by the model may include, for example, face shape, eyes, and lips. Once the model identifies the facial features, the model may then determine the position and / or shape of the facial features with respect to the user’s face. For example, the model may determine the position of the eyes, e.g., wide-set or close set, and then a shape of the eyes. In some examples, the model may determine whether the lips are normal or dehydrated and then a shape of the lips. Based on the determined position and / or shape of the facial features, the system can then provide a tutorial for applying makeup to the facial features. The tutorial may be text, images, videos, or a combination thereof.

[0030] Determining the positioning and / or shape of facial features provides an indication as to how to sculpt the face with cosmetics. Face shapes also help with choosing the identifying complimentary hair designs, highlighted hair, hair pieces, and wigs. Face shape understanding helps with choosing eyeglass frames, hats, earrings, and any head related accessory. For example, once the model identifies the frontal bone, the system can provide, for output, one or more tutorials indicating where to shade (contour), countershade (highlight), and also where to apply blush based on the location of the frontal bone. The identification of the position and / or shape of the mandible bone, for example, can determine the tutorial indicating where to shade (contour) and counter shaded (highlight). As the location (position ) can be different for each user, the model is trained to quickly identify this facial feature as a basis for identifying relevant tutorials.MAKEUP-001Moreover, the model takes something that, done by the user themselves, is typically subjective and makes the identification of facial features along with their position and / or shape an objective process. This allows for the system to provide tutorials that are user specific and that allow the user to create balance and symmetry on the face. Darkness or shading minimizes an area whereas light or counter shading maximizes an area.

[0031] By using Al models to determine facial features, the facial features can be objectively determined for each individual user face. For example, the Al model can objectively determine the positioning and / or shape of the facial features based on training examples in which the positioning and / or shape of the facial features are known. By objectively comparing the input to the training examples, the Al models can objectively determine the position and / or shape of the facial features, rather than another user subjectively determining the same. In contrast, multiple makeup artists, e.g., those applying the makeup, may look at the face of a model e.g., a user, and each makeup artist may determine a different position and / or shape of the same facial features as each makeup artist is subjectively looking at the model, rather than using an objective standard. For example, the training examples may be determined based on objective qualifications, such as number of pixels, measured distances, or the like to provide an objective determination of the position and / or shape of the facial features.Example Systems

[0032] Figure 1 provides an example block diagram illustrating components of the device. As shown, the device 100 includes various components, such as one or more processors 102, memory 104, and other components typically present in microprocessors, general purpose computers, or the like. Device 100 also includes input 110 and an output 112.

[0033] The one or more processors 102 may be any conventional processors, such as commercially available microprocessors. Alternatively, the one or more processors may be a dedicated device such as an application specific integrated circuit (ASIC) or other hardware-based processor. Although Figure 1 functionally illustrates the processor, memory, and other elements of device 100 as being within the same block, it will be understood by those of ordinary skill in the art that the processor, computing device, or memory may actually include multiple processors, computing devices, or memories that may or may not be stored within the same physical housing. Similarly, the memory may be a hard drive or other storage media located in a housing different from that of device 100. Accordingly, references to a processor or computing device will be understood to include references to a collection of processors or computing devices or memories that may or may not operate in parallel.

[0034] Memory 104 may store information that is accessible by the processors 102, including instructions 106 that may be executed by the processors 102, and data 108. The memory 104 may be of a type of memory operative to store information accessible by the processors 102, including a non-transitory computer-readable medium, or other medium that stores data that may be read with the aid of an electronic device, such as a hard-drive, memory card, read-only memory (“ROM”), random access memory (“RAM”), optical disks, as well as other write-capable and read-only memories. The subject matterMAKEUP-001 disclosed herein may include different combinations of the foregoing, whereby different portions of the instructions 106 and data 108 are stored on different types of media.

[0035] Data 108 may be retrieved, stored or modified by processors 102 in accordance with the instructions 106. For instance, although the present disclosure is not limited by a particular data structure, the data 108 may be stored in computer registers, in a relational database as a table having a plurality of different fields and records, XML documents, or flat files. The data 108 may also be formatted in a computer-readable format such as, but not limited to, binary values, ASCII or Unicode. By further way of example only, the data 108 may be stored as bitmaps comprised of pixels that are stored in compressed or uncompressed, or various image formats (e.g., JPEG), vector-based formats (e.g., SVG) or computer instructions for drawing graphics. Moreover, the data 108 may comprise information sufficient to identify the relevant information, such as numbers, descriptive text, proprietary codes, pointers, references to data stored in other memories (including other network locations) or information that is used by a function to calculate the relevant data.

[0036] The instructions 106 can be any set of instructions to be executed directly, such as machine code, or indirectly, such as scripts, by the processor 102. In that regard, the terms “instructions,” “application,” “steps,” and “programs” can be used interchangeably herein. The instructions can be stored in object code format for direct processing by the processor, or in any other computing device language including scripts or collections of independent source code modules that are interpreted on demand or compiled in advance. Functions, methods and routines of the instructions are explained in more detail below.

[0037] The device 100 may further include an input 110. The input 110 may be, for example, a touch sensor, dial, button, or other control for receiving a manual command. The input 110 may, in some examples, be a microphone or keyboard. The device 100 may also include an output 120. The output 120 may be, for example, a display, speakers, etc.

[0038] It should be understood that the device 100 may include other components which are not shown, such as a battery, charging input for the battery, signals processing components, etc. Such components may also be utilized in execution of the instructions 106.

[0039] Figure 2 illustrates an example system 200 in which the features described herein may be implemented. It should not be considered limiting the scope of the disclosure or usefulness of the features described herein. In this example, system 200 may include a plurality of devices 202, 212, 222, 232, server computing device 270, storage system 260, and network 250. For purposes of ease, the collection of devices 202, 212, 222, 232 or a single device will be referenced as device(s) 202. Each device 202 may be a personal computing device intended for use by a respective user and have all of the components normally used in connection with a personal computing device, as described above with relationship to device 100, including a one or more processors (e.g., a central processing unit (CPU)), memory (e.g., RAM and internal hard drives) storing data and instructions, a display (e.g., a monitor having a screen, a touch-screen, a projector, a television, or other device such as a smart watch display that is operable to display information), and user input devices (e.g., a mouse, keyboard, touchscreen or microphone). The devices 202 may also include a camera, speakers, a network interface device, and all of the components used for connecting these elementsMAKEUP-001 to one another. Device 202 may be capable of wirelessly exchanging and / or obtaining data over the network 250.

[0040] Although the devices 202 may each comprise mobile computing devices capable of wirelessly exchanging data with a server over a network such as the Internet, they may alternatively comprise a full- sized personal computing device, such as laptop 222. By way of example only, devices may be mobile phones or devices such as a wireless-enabled PDA 232, a smartphone 212, a tablet PC 202, a wearable computing device (e.g., a smartwatch, headset, smart glasses, virtual reality player, other head-mounted display, etc.), or a netbook that is capable of obtaining information via the Internet or other networks.

[0041] The devices 202 may be at various nodes of a network 250 and capable of directly and indirectly communicating with other nodes of network 250. Although four (4) devices are depicted in Figure 2, it should be appreciated that a typical system 200 can include one or more devices, with each computing device being at a different node of network 250. The network 250 and intervening nodes described herein can be interconnected using various protocols and systems, such that the network can be part of the Internet, World Wide Web, specific intranets, wide area networks, or local networks. The network 250 can utilize standard communications protocols, such as WiFi, that are proprietary to one or more companies. Although certain advantages are obtained when information is transmitted or received as noted above, other aspects of the subject matter described herein are not limited to any particular manner of transmission.

[0042] In one example, system 200 may include one or more server computing devices having a plurality of computing devices, e.g., a load balanced server farm, that exchange information with different nodes of a network for the purpose of receiving, processing and transmitting the data to and from other computing devices. For instance, one or more server computing devices 270 may be a web server that is capable of communicating with the one or more devices 202 via the network 250. In addition, server computing device 270 may use network 250 to transmit and present information to a user 204 of one of the other devices 202. Server computing device 270 may include one or more processors, memory, instructions, and data. These components operate in the same or similar fashion as those described above with respect to device 100.

[0043] Storage system 260 may store various types of information. For instance, the storage system 260 may store information about judgments entered by a court and / or agency. The storage system 260 may store judgment data. The judgment data may include, for instance, the name, address, and birthday of the debtor. The judgment data may also include the filing location, filing date, case tide, docket number, judgment number, judgment type, judgment amount, etc. This information may be retrieved or otherwise accessed by a service computing device, such as one or more server computing devices 270, in order to perform some or all of the features described herein. While only one storage system 260 is shown, system 200 may include one or more storage systems 260.Example Shapes and PositionsFace Shape

[0044] There are at least fifty different face shapes. The overall face shape is generally determined by first dividing it in two parts: the frontal bone or forehead, as shown in Figure 3, and the mandible or lower jawbone, as shown in Figure 4. The model is trained by segmenting the image data of the face of the userMAKEUP-001 in two parts in order to identify the total face shape. The combination of the frontal and mandible bones create the overall face shape. There are 25 combinations. The oval / oval combination is considered balanced and symmetrical. The other 25 face shapes could possibly be oblong. The model is trained to identify the shape of the frontal bone and the shape of the mandible. The model will then use the identified shapes of the frontal bone and the shape of the mandible to determine the overall shape.

[0045] When determining the face shape, the model may compare the image data to geometrical shapes, such as oval, small square, round, square, and triangle.

[0046] Oval is short in width and smooth around with no sharp angles. Small square is a square shape but is not wide. It is typically considered small such that a user’s hand can typically cup the area. The oval forehead line is smooth around and shorter in width. It is generally smaller and typically you can cup this frontal bone with your hand. The oval jaw line is smooth around and shorter in width. It is generally smaller and typically you can cup this jaw line with your hand.

[0047] A small square will typically include a square bone structure near the side edges of the frontal bone. These features may be used by the model when determining the face shape. The small square is short in width, can be easily cupped, but has a little bit of sharp edges or corners. The small square is short in width, can be easily cupped, but has a little bit of sharp edges or corners.

[0048] Round is smooth with no sharp angles but has width. Typically, a user’s hand can lay flat across this frontal bone. The round frontal bone is smooth around but is wide. The round mandible is smooth around but is wide.

[0049] Square is wide across and has sharp square corners on both the frontal and mandible bones. Typically, a user’s hand will lay flat across the square frontal bone too. The square frontal bone is also wide around but has sharper edges. The square mandible is also wide around but has sharper edges.

[0050] Triangle is wider in the corners but extends longer and has more height as the frontal bone and longer as the mandible. The triangle frontal bone is wider near the eyebrows but has approximately a 45 degree angle upward. It is very narrow near the top. The triangle does not typically to a complete point as a frontal bone. The triangle mandible does come to a complete point because of the chin. The triangle frontal bone has wider corners near the hair line but becomes narrower towards the center of the forehead. The triangle frontal bone typically is the smallest of all the forehead shapes. It is easily mistaken for an oval shape, but when the bone shape is traced it is clearly forming a triangle shape. The triangle mandible has wider corners but a sharper, narrow chin area. The triangle mandible has a shaper 3 / 4 and side angle from a profile point of view.

[0051] All face shapes can be oblong. Oblong means the face has length compared to the average.

[0052] The average length oval / oval combination is considered balanced and symmetrical. It can be measured in three equal parts. Hair line to brow bone, brow bone to bottom of nose, and bottom of nose to bottom of mandible. There will be three equal parts. All other 49 face shapes will not have three equal parts.

[0053] The model may, in some examples, determine the frontal bone shape (e.g., oval, small square, round, square, triangle), the shape of the mandible, if the face has length (oblong). The model may makeMAKEUP-001 these determinations sequentially or in parallel. Each determination may be used to identity the overall face shape of the user.Eye Shape

[0054] Eyes may be positioned as wide-set or close-set. The lateral position of the eyes is how close or wide the eyes are from each other (the top of the nasal bone). To determine whether the eyes are wide-set or close-set, the system (or the model) may compare the width of the eye to the width of the space between the eyes. This may be based on the number of pixels, distance measurements, or the like. If the width of the eye measurement is longer than the measurement of the space between the eyes, the eyes are laterally positioned close-set. If the width of the eye measurement is shorter than the measurement of the space between the eyes, the eyes are laterally positioned wide-set.

[0055] Eye shadow placement is according to the eye shape. Eye shadow creates the illusion of balance and symmetry of the orbital cavity. The following explanations and drawings use 3 distinct variations of color: light, medium, and dark. Each eye shape drawing has an eye shadow placement guide.

[0056] Eyeliner placement is according to the eye lateral position (e.g., wide-set or close-set). Eyeliner creates the illusion of balance and symmetry of the lateral position of the eye. The following explanations and drawings use eyeliner as the corrective tool. Each eye shape has an eyeliner placement according to the lateral position. Wide-set eyes should have eyeliner drawn across the eyelid or bottom eyeline from the interior corner of the eye outward to the outer edge of the eye. Each eye shape drawing has an eyeliner placement guide.

[0057] Figures 5A-D illustrate example eyes shapes for close-set and wide-set eyes. As shown in Figures 5 A and 5B, close-set eye shapes include small, deep-set, bulging, downturned, small deep-set, small downturned, small deep-set downturned, deep-set bulging, deep-set downturned, deep-set bulging downturned, bulging downturned, small bulging, small deep-set bulging, small bulging downturned, small deep-set bulging downturned, and true close-set. Figures 5C and 5D illustrate example eye shapes for wide- set eyes. Similar to close-set eyes, the wide-set eye shapes include small, deep-set, bulging, small, deepset, bulging, downturned, small deep-set, small downturned, small deep-set downturned, deep-set bulging, deep-set downturned, deep-set bulging downturned, bulging downturned, small bulging, small deep-set bulging, small bulging downturned, small deep-set bulging downturned, and true wide-set.Lip Shape

[0058] Figures 6A and 6B illustrate example lip shapes for normal conditions and dehydrated conditions. Normal lip conditions include, for example, lips that appear healthy, supple, smooth, uncracked, or the like. Dehydrated lip conditions include, for example, lips that arrear dry, cracked, unhealthy, or the like.

[0059] The lip shapes, whether normal condition or dehydrated condition, include, for example, downturned uneven average, uneven average, flat average even, small / thin even, large / full even, even average, downturned uneven flat average, downturned uneven flat small / thin, downturned uneven flat large / full, downturned uneven small / thin, downturned uneven large / full, uneven flat average, uneven flat small / thin, uneven flat large / full, flat small / thin even, flat large / full even, small / thin uneven, and large / full uneven.MAKEUP-001Lighting

[0060] Light is measured by its color temperature. Color temperature is the actual color of the light we see and see through. Artificial light is used to light our spaces where sunlight cannot reach.

[0061] Photographers and lighting directors of television and film all use light to cast color on their model or talent. The color of the light they use depicts emotion or mood for the viewer. The light that is used in photography and videography affects what we see and adds to the interpretation of what we see. Therefore if light affects what we see, makeup colors must be affected too.

[0062] There are substantially three types of light that a user will be wearing makeup under on any given day: natural, fluorescent, and incandescent. Some days, the user may remain under one type of light all day, or the user may move around into different types of light. Sometimes there is a mixture of light or the user may move from one light to another. For example, the user may be taking photos outside under natural light and then take photos indoors under incandescent lighting. Or perhaps the user is indoors under incandescent light with windows emitting natural light. Either way the lighting and color choice theories work in all lighting situations. There are 7 lighting conditions. Three single light scenarios and four combinations of multi light sources.

[0063] Natural light is daylight. There is a wide spectrum of color within daylight. Depending on the time of day, atmospheric conditions, and time of year determine the color of natural light. Sunrise, morning light, midday light, sunset, and evening light all emit different color temperatures. Noon time until afternoon typically is your brightest, whitest light. If the atmosphere is clear you will see through pure, white light. At this time you have full spectrum white light. Full spectrum is when all colors of the rainbow bombard and produce perfect white light. If you put a prism in sunlight, you will see the fractures of all colors of the rainbow.

[0064] Artificial daylight, which are man made light bulbs, has a color temperature of 4500- 5000K. It appears clear or pure white. It is the closest to nature. Artificial daylight is not pure, full spectrum light, but is the closest that man has reproduced. Prisms will not show all colors of the rainbow as vividly as pure outdoor sunlight.

[0065] In photos, natural light appears bright. All pure color is visible. Photographers use this color temperature to show the clarity colors and details in the photograph. In photography and videography, professionals say that white light blows out an image. If the light is super bright white it can blur features on the client. Just as the opposite, dim, low color temperature light can blur and soften features as well. Bright white light in tv, film, and photography depicts happiness, energy, and openness.

[0066] Fluorescent light has a color temperature typically of 6000-6500K. It can be described as looking blue, green, or grayish. Fluorescent light is typically found in commercial settings, offices, schools, libraries, hospitals, warehouses, retail spaces, and professional settings. Fluorescent lighting can range in color from warm white, cool white, and blue white. The color temperature of warm white is lower and blue light is higher. Cool white is considered pure white light the closest to outdoors, natural white light. Fluorescent light can be described as cold, gloomy, clinical, industrial, and hollow. Blue or cool light is used in tv, film, and photography to depict cold and depressive emotions.MAKEUP-001

[0067] Incandescent light is a warm yellow light that has a color temperature ranging from 2800 to 3200 degrees Kelvin. It is your typical Thomas Edison light bulb. This light can be described as warm, soft, flattering, and romantic. Candlelight and fireplace lighting emit incandescent lighting.

[0068] The model, when determining what tutorials to provide, considers the lighting the user will be wearing the makeup in. Makeup colors should be chosen based on the lighting they will be worn in. Eye shadow, eye liner, blush, highlighter, lip stick, lip gloss, and lip liner colors should be chosen based on the lighting they will be worn in. Basically eye, cheek, and lip products are chosen based on the type of light they will be worn in. Brow products are based on hair color. Mascara color may be chosen based on hair color or light that it is worn in. Foundations, powders, and contour products are chosen based on skin undertone and skin color.

[0069] Once the model receives an indication of the lighting and, the model may, in some examples, determine the associated color temperature. The model may use the lighting and / or color temperature when providing the tutorials, which may include an indication of the colors of the makeup.

[0070] There are particular makeup colors that work well under certain types of light. The colors will pop, look flattering, and show up clearer under certain types of light. And there are colors that do not work well under certain types of light. Those colors appear flat, disappear, and look muddy.

[0071] There are three categories of color bases: brown, yellow, and blue based. Brown is a tertiary color that is created when all three primary colors are combined together. Yellow and blue are primary colors.

[0072] Natural light, full spectrum white light. Brown based makeup is the best for natural light because brown is created from all three primary colors (red, yellow, and blue). In essence, brown has every color in existence in it. Full spectrum daylight is white light, which also has every color of the rainbow in it. From the palest brown like vanilla or cream to the darkest brown like espresso and dark chocolate. Primary red and brown reds are flattering under natural light.

[0073] The best makeup for fluorescent lighting is yellow based or warm toned makeup. Yellow based makeup includes all yellows, oranges, and greens. That is a huge spectrum of color. Warm makeup looks best under cool light. Warm reds are flattering under fluorescent light.

[0074] The best makeup for incandescent lighting is blue based or cool toned makeup. Blue based makeup includes all blues, violets, and greens. That all is a huge spectrum of makeup. Light reflective products also work well under incandescent lighting. Light reflective products are shimmer, sheer, glitter, gloss, pearlized, frosted, cream, and metallic formulas. Certain facial features benefit from light reflective formulations. Cool reds, pink. Cool makeup looks best under warm light.

[0075] Light reflective products naturally bring light to the face. These formulations in makeup will illuminate the area on the face. The formulas are shimmer, sheer, glitter, gloss, frosted, pearlized, cream, and metallics. Basically any products with sheen will make an area appear bigger. Highlighter products or products with a light reflective property can also achieve the look of light or lightness. Use a blush brush to lightly add highlighter, shimmer, glitter, or any light reflective product on the cheek bones or anywhere else on the face and body. This will bring light to the face. Use gloss on small lips to make them appear bigger. Use light reflective products on the eyes to make the eye look bigger.MAKEUP-001

[0076] Example lighting conditions and corresponding color choices for each includes, for example:

[0077] Natural light or 4000-5000 K; full spectrum white light: Brown based colors (skin like) and neutrals.

[0078] Fluorescent light 5000-6500 K; blue, green, gray, or cool light: Yellow based (yellows, oranges, or greens) or warm colors and neutrals.

[0079] Incandescent light 2800 K (candlelight 1800 K; tungsten halogen 3200 K); yellow or warm light: Blue based (blues, greens, or violets) or cool colors and neutrals and / or light reflective products.

[0080] Natural / Fluorescent: Brown based + Yellow based and / or neutrals.

[0081] Natural / Incandescent: Brown based + Blue based and / or light reflective products and / or neutrals.

[0082] Fluorescent / Incandescent: Yellow based + Blue based and / or light reflective products and / or neutrals; Yellow + Blue= Green; Yellow based that are light reflective.

[0083] Natural / Fluorescent / Incandescent: Brown based + Yellow based + Blue based and / or light reflective products and / or neutrals; Brown + Green; Brown + Yellow based that are light reflective.Example Methods

[0084] Figure 7 illustrates an example display for an application that, in conjunction with the Al model, can provide tutorials for applying makeup. The application may include one or more inputs 702 for capturing and / or receiving (uploading) image data. For example, in response to receiving a user input corresponding to the selection of input 702 (“capture / upload image”), the system (e.g., application) may be configured to capture image data using camera 704 or search for image data stored in memory on the device 100 or in a repository accessible by the device 100 via the network. The image data may be, for example, an image 706 of the user.

[0085] In some examples, the user interface (UI) of the application may include inputs for cropping, editing, adjusting, etc. the image 706. In some examples, the UI may include directions, or outputs, with guidelines and / or instructions for providing image data that is usable by the system for identifying userspecific tutorials for applying makeup. The guidelines and / or instructions may include, for example, zooming in on the image data such that only the face of the user is within a boundary, an indicating that the quality (e.g., pixels, size, etc.) is below a threshold for adequately identifying the tutorials, or the like.

[0086] The application may provide the image 706 as input into a trained Al model. The Al model may be, for example, a ME model. The model may be trained to identify facial features, positions of facial features, and / or shapes of facial features based on the image 706. Based on the identified features, positions, and / or shapes, the model may provide tutorial(s) for makeup application, that are specific to the features, positions, and / or shapes identified by the model. In that regard, the tutorials provided to the user are user specific, e.g., specific to the features, positions, and / or shapes of the features of the user.

[0087] In some examples, the Al model generates an output at least partially characterizing the facial features, position of facial features, and / or shape of facial features. The output can form part of the input to the Al model for outputting tutorials. In some examples, the Al model is split into separate models, at least one model for identifying the face in the digital content, at least one model for identifying facial features, at least one model for identifying positions and / or shapes of the facial features, and at least oneMAKEUP-001 model for identifying the user-specific tutorials. Before providing the facial feature, position of facial feature, and / or shape of facial feature output, the system can receive user input to confirm the correct identification, for example, through a user interface. The facial features may include eyes, lips, nose, etc. The position and / or shape of the facial features can be, for example, those described with respect to Figures 3-6B. The output of the facial features, facial feature positions, and / or facial feature shapes can be updated, if needed, before being provided as input to the model trained to identif y user-specific tutorials for makeup application. In other examples, the Al model is trained end-to-end, e.g., from image data to output of the tutorials. In those examples, the Al model may output positions and / or shapes of facial features.

[0088] The model may be trained based on a database generated based on previously captured image data and identification of facial features, positions of facial features, and / or shapes of facial features. For example, the training examples, e.g., the image data used for training the model, may be labeled with facial features, positions of facial features, and / or shapes of facial features. The image data along with labels annotating the facial features, positions of facial features, and / or shapes of facial features may be stored in a database. The database may be managed and updated by the system, which in turn can provide additional training examples for further training or fine-tuning the model.

[0089] The training examples may allow for the Al models to provide objective determinations regarding the position and / or shape of facial features, as compared to a human objectively looking at a face of a user. For example, the position and / or shape of the facial features may be determined based on measured distances, pixels, etc. identified in the training examples as corresponding to a given position and / or shape of facial feature. The Al models, therefore, take the subjectivity of looking at a user out of the decision making processing when determining how to apply makeup to a user.

[0090] According to some examples, the output of the model may be determined based on one or more additional inputs received via the user interface. For example, the user interface may include one or more inputs associated with the style of makeup, lighting for wearing the makeup, as shown in Figure 14, or the like. The style of the makeup may be business (e.g., makeup a user would wear in an office setting), formal (e.g., makeup a user would wear to a formal event, such as a cocktail, black de optional, or black tie event), casual (e.g., makeup a user would wear daily), or the like. In some examples, the user interface may include one or more inputs associated with the lighting the makeup will be worn in. The lighting may include, for example, outdoors sunny, outdoors cloudy, nighttime, fluorescent lights, soft lighting, etc. The model may give different weights to the styles and / or lighting when determining which tutorials to provide as output.

[0091] Figures 8A-8E illustrate example tutorials for the different shapes of the frontal bone. As discussed above, the frontal bone may be shaped as an oval, round, small square, square, or triangle. The model may determine the shape of the frontal bone and based on the shape, identify a tutorial (e.g., correction) for applying makeup. The tutorial can include an identification of the shape of the frontal bone, how makeup can be used, e.g., applied, to change the shape of the frontal bone, create balance and symmetry, or the like.

[0092] Blush placement is according to the frontal bone and is aligned with the eye as a guide. Oval and small square frontal bones have blush, highlight, and contour aligned with the pupil of the eye. Round and square frontal bones have blush, highlight, and contour aligned with the outer edge of the iris (color partMAKEUP-001 of the eye). Triangle frontal bones and overall oblong faces have blush, highlight, and contour aligned with the outer edge of the eye.

[0093] The frontal bone shape can be manipulated with light and darkness. Makeup can be used to create balance and symmetry on the frontal bone. Counter-shade or highlight will maximize an area or bring it forward. Shade or contour will minimize an area or push it back.

[0094] Figure 8A illustrates an example tutorial for a frontal bone having an oval shape. The tutorial for frontal bone corrections for an oval shaped frontal bone may include, for example, instructions for applying makeup, such as: Oval: Small in size with an oval shape, smooth edges; highlight in the center of the frontal bone; no contour necessary. Oval frontal bone has blush, highlight, and contour aligned with the pupil of the eye. Oblong face shapes should have contour around the top portion of the frontal bone to minimize the length / height of the forehead. Oblong faces have blush, highlight, and contour aligned with the outer edge of the eye.

[0095] Figure 8B illustrates an example tutorial for a frontal bone having a round shape. The tutorial for frontal bone corrections for a round shaped frontal bone may include, for example, instructions for applying makeup, such as: Wide across with a round shape; smooth edges; highlight in the center of the frontal bone; contour the outer round edges to make the frontal bone appear more oval. The objective is to minimize the width of the forehead, and bring focus to the center of the forehead. Round frontal bone has blush, highlight, and contour aligned with the outer edge of the iris (color part of the eye). Oblong face shapes should have contour around the top portion of the frontal bone to minimize the length / height of the forehead. Oblong faces have blush, highlight, and contour aligned with the outer edge of the eye.

[0096] Figure 8C illustrates an example tutorial for a frontal bone having a small square shape. The tutorial for frontal bone corrections for a small square shaped frontal bone may include, for example, instructions for applying makeup, such as: Small Square: Small in size with a square shape; highlight in the center of the frontal bone; contour the outer square edges to make the frontal bone appear more oval. The objective is to minimize the width of the forehead, soften edges, and bring focus to the center of the forehead. Small square frontal bone has blush, highlight, and contour aligned with pupil of the eye. Oblong face shapes should have contour around the top portion of the frontal bone to minimize the length / height of the forehead. Oblong faces have blush, highlight, and contour aligned with the outer edge of the eye.

[0097] Figure 8D illustrates an example tutorial for a frontal bone having a square shape. The tutorial for frontal bone corrections for a square shaped frontal bone may include, for example, instructions for applying makeup, such as: Square: Wide across with a square shape; square edges; highlight in the center of the frontal bone; contour the outer square edges to make the frontal bone appear more oval. The objective is to minimize the width of the forehead, soften edges, and bring focus to the center of the forehead. Square frontal bone has blush, highlight, and contour aligned with the outer edge of the iris (color part of the eye). Oblong face shapes should have contour around the top portion of the frontal bone to minimize the length / height of the forehead. Oblong faces have blush, highlight, and contour aligned with the outer edge of the eye.MAKEUP-001

[0098] Figure 8E illustrates an example tutorial for a frontal bone having a triangle shape. The tutorial for frontal bone corrections for a triangle shaped frontal bone may include, for example, instructions for applying makeup, such as: Triangle: Wide across brow bone and more narrow upwards towards hairline with a 45 degree angle; highlight in the lower area of the frontal bone closer to the brow bone; contour the outer wider edges and higher area to make the frontal bone appear more oval. The objective is to minimize the width of the forehead, soften edges, condense the length of the forehead, and bring focus to the center of the forehead. Triangle frontal bone has blush, highlight, and contour aligned with the outer edge of the eye. Oblong face shapes should have contour around the top portion of the frontal bone to minimize the length / height of the forehead. Oblong faces have blush, highlight, and contour aligned with the outer edge of the eye.

[0099] Figures 9A-9E illustrate example tutorials for the different shapes of the mandible.

[0100] As discussed above, the mandible may be shaped as an oval, round, small square, square, or triangle. The model may determine the shape of the mandible and based on the shape, identify a tutorial (e.g., correction) for applying makeup. The tutorial can include an identification of the shape of the mandible, how makeup can be used, e.g., applied, to change the shape of the mandible, create balance and symmetry, or the like.

[0101] Figure 9A illustrates an example tutorial for a mandible having an oval shape. The tutorial for mandible corrections for an oval shaped mandible may include, for example, instructions for applying makeup, such as: Oval: Small in size with an oval shape, smooth edges; highlight in the center of the mandible bone; no contour necessary. Oblong face shapes should have contour around the bottom portion of the mandible bone to minimize the length of the jaw and chin area.

[0102] Figure 9B illustrates an example tutorial for a mandible having a round shape. The tutorial for mandible corrections for a round shaped mandible may include, for example, instructions for applying makeup, such as: Round: Wide across with a round shape; smooth edges; highlight in the center of the mandible bone; contour the outer round edges to make mandible bone appear more oval. The objective is to minimize the width of the jaw bone, and bring focus to the center of the jaw area. Oblong face shapes should have contour around the bottom portion of the mandible bone to minimize the length of the jaw and chin area.

[0103] Figure 9C illustrates an example tutorial for a mandible having a small square shape. The tutorial for mandible corrections for a small square shaped mandible may include, for example, instructions for applying makeup, such as: Small Square: Small in size with edges that appear square; highlight in the center of the mandible bone; contour the outer square edges to make mandible bone appear more oval. The objective is to minimize the width of the jaw bone, soften edges, and bring focus to the center of the jaw area. Oblong face shapes should have contour around the bottom portion of the mandible bone to minimize the length of the jaw and chin area.

[0104] Figure 9D illustrates an example tutorial for a mandible having a square shape. The tutorial for mandible corrections for a square shaped mandible may include, for example, instructions for applying makeup, such as: Square: Wide across with a square shape; square edges; highlight in the center of theMAKEUP-001 mandible bone; contour the outer square edges to make mandible bone appear more oval. The objective is to minimize the width of the jaw bone, soften edges, and bring focus to the center of the jaw area. Oblong face shapes should have contour around the bottom portion of the mandible bone to minimize the length of the jaw and chin area.

[0105] Figure 9E illustrates an example tutorial for a mandible having a triangle shape. The tutorial for mandible corrections for a triangle shaped mandible may include, for example, instructions for applying makeup, such as: Triangle: Wide across with a downward 45 degree angle to chin area; highlight in the upper area of the mandible bone closer to the bottom lip; contour the outer wider edges and chin area to make the mandible bone appear more oval. The objective is to minimize the width of the jaw bone, soften edges, condense the length of the chin area, and bring focus to the center of the face. Oblong face shapes should have contour around the bottom portion of the mandible bone to minimize the length of the jaw and chin area.

[0106] Figures 10A-P illustrate example tutorials for the different shapes of close-set eyes. As discussed above, the model may determine the position of the eyes to be close-set and determine the shape of the eyes. The tutorial(s) may provide a method of applying makeup based on the position and shape of the eyes.

[0107] Figure 10A illustrates an example tutorial for close-set (position) small (shape) eyes. The tutorial for close-set (position) small (shape) eyes may include, for example, instructions for applying makeup, such as: Small: light eye shadow on the bottom eyelid, small amount of dark eye shadow in the crease, and medium eye shadow under and on the brow bone. Eight reflective eye product formulas make the small eye look bigger and are highly recommended. Close-set: Eyeliner is drawn halfway out. Finer starts at the pupil and is drawn outward. Liner should be thin. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0108] Figure 10B illustrates an example tutorial for close-set (position) deep-set (shape) eyes. The tutorial for close-set (position) deep-set (shape) eyes may include, for example, instructions for applying makeup, such as: Deep-Set: light eye shadow on the bottom eyelid up through the crease, dark eye shadow slightly above the crease; medium eye shadow under and on the brow bone, dark eye shadow; light reflective eye product formulas only as the light eye shadow color on the eyelid up through crease. Closeset: Eyeliner is drawn halfway out. Liner starts at the pupil and is drawn outward. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective formulas to bring the eye forward and less sunk in. White liner works as an extension of the white of the eye.

[0109] Figure 10C illustrates an example tutorial for close-set (position) bulging (shape) eyes. The tutorial for close-set (position) bulging (shape) eyes may include, for example, instructions for applying makeup, such as: Bulging: dark eye shadow on the bottom eyelid, medium eye shadow in the crease, light eye shadow under and on the brow bone; matte eye shadow formulas over entire eye to balance out large eye. Close-set: Eyeliner drawn halfway out. Liner starts at the pupil and is drawn outward. Thick eyeliner mayMAKEUP-001 be used on the top eyelid and the bottom eye line. This shape also benefits from dark color eyeliner inside the eye’s waterline to decrease the size of the eye.

[0110] Figure 10D illustrates an example tutorial for close-set (position) downturned (shape) eyes. The tutorial for close-set (position) downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Downturned (hooded): light eye shadow in the interior bottom area of the eyelid, medium in the crease and under and on the brow bone, dark on the eyelid extending upward on the outer edge of the eyelid. The dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward. Light reflective as the light eye shadow and matte as medium and dark eye shadow colors to create contrast. Closet-set: Eyeliner drawn halfway out. Liner starts at the pupil and is drawn outward. Stop eyeliner 1 or 2 mm near the end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / or light reflective to reduce the downturnedness of the eye. White liner works as an extension of the white of the eye and lifts the eye upward.

[0111] Figure 10E illustrates an example tutorial for close-set (position) small deep-set (shape) eyes. The tutorial for close-set (position) small deep-set (shape) eyes may include, for example, instructions for applying makeup, such as: Small Deep-Set: light eye shadow on the bottom eyelid, small amount of dark eye shadow slightly above the crease, and medium eye shadow under and on the brow bone. Light reflective eye product formulas make the small eye look bigger and deep-set look less sunken in, but light reflective only as the light color on lid up through the crease. Close-set: Eyeliner is drawn halfway out. Liner starts at pupil and is drawn outward. Liner should be thin. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye and to bring the eye forward and less sunken in. White liner works as an extension of the white of the eye.

[0112] Figure 10F illustrates an example tutorial for close-set (position) small downturned (shape) eyes. The tutorial for close-set (position) small downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Small Downturned: light eye shadow in the interior area of the bottom lid, medium eye shadow in the crease and under and on the brow bone, dark eye shadow on lid extending upward on the outer edge of the eye lid. The dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then apply a small amount of dark eye shadow into the crease. Light reflective formulas as the light eye shadow and matte formulas as the dark eye shadow color to create contrast. Close-set: Eyeliner is drawn halfway out. Liner starts at pupil and is drawn outward. Stop the eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye and to reduce the downturnedness of the eye. White liner works as an extension of the white of the eye.

[0113] Figure 10G illustrates an example tutorial for close-set (position) small deep-set downturned (shape) eyes. The tutorial for close-set (position) small deep-set downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Small Deep-Set Downturned: light eye shadow in interior area of the bottom lid through the crease, medium eye shadow in the crease and under and on browMAKEUP-001 bone, dark eye shadow on the eye lid extending upward on the outer edge of the eyelid then apply dark shadow slightly above the crease. Dark should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then a small amount of dark eye shadow is applied slightly in and above the crease. Light reflective as the light eye shadow and matte eye shadow as the dark color to create contrast. Medium eye shadow should be matte. Close-set: Eyeliner is drawn halfway out. Liner starts at pupil and is drawn outward. Stop eyeliner 1 or 2 mm near the end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye, bring the eye forward and less sunken in, and reduce the downturnedness of the eye. White liner works as an extension of the white of the eye.

[0114] Figure 10H illustrates an example tutorial for close-set (position) deep-set bulging (shape) eyes. The tutorial for close-set (position) deep-set bulging (shape) eyes may include, for example, instructions for applying makeup, such as: Deep-Set Bulging: This eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of its anatomical features. You may choose one specific anatomical makeup pattern or possibly artistically combine patterns. Deep- Set: light eye shadow on the bottom eyelid up through the crease, dark eye shadow slightly above the crease, and medium eye shadow under and on the brow bone; light reflective eye product formulas only as the light eye shadow color on lid up through the crease. Close-set: Eyeliner is drawn halfway out. Liner starts at pupil and is drawn outward. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective formulas to bring the eye forward and less sunk in. White liner works as extension of the white of the eye. Bulging: dark eye shadow on the bottom eyelid, medium eye shadow in the crease, light eye shadow under and on the brow bone; matte eye shadow formulas over the entire eye to balance out the large eye. Close-set: Eyeliner drawn halfway out. Liner starts at pupil and is drawn outward. Thick eyeliner may be used on the top eyelid and the bottom eye line. This shape also benefits from dark color eyeliner inside the eye’s waterline to decrease the size of the eye.

[0115] Figure 101 illustrates an example tutorial for close-set (position) deep-set downturned (shape) eyes. The tutorial for close-set (position) deep-set downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Deep-Set Downturned: light eye shadow on the bottom eyelid up through the crease, dark eye shadow slightly above the crease and dark on the eyelid extending upward on the outer edge of the eye lid then applied up slightly above the crease and medium eye shadow under and on the brow bone. Dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then applied into slightly above the crease; light reflective only as light color on the lid up through the crease. Close-set: Eyeliner is drawn halfway out. Liner starts at the pupil and is drawn outward. Stop eyeliner 1 or 2 mm near the end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / or light reflective formulas to bring the eye forward and less sunk in and reduce the downturnedness of the eye. White liner works as an extension of the white of the eye.MAKEUP-001

[0116] Figure 10J illustrates an example tutorial for close-set (position) deep-set bulging downturned (shape) eyes. The tutorial for close-set (position) deep-set bulging downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Deep-Set Bulging Downturned: In some areas, this eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of its anatomical features. Deep-Set / Downturned: light eye shadow on the bottom eye lid up through the crease, dark eye shadow slightly above the crease and dark on the eyelid extending upward on the outer edge of the eyelid then applied up slightly above the crease, and medium eye shadow under and on the brow bone. Dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then applied into slightly above the crease; light reflective only as light color on the lid up through the crease. Close-set: Eyeliner is drawn halfway out. Liner starts at the pupil and is drawn outward. Stop eyeliner 1 or 2 mm near the end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / or light reflective formulas to bring the eye forward and less sunk in and reduce the downturnedness of the eye. White liner works as an extension of the white of the eye. Bulging / Downturned: dark eye shadow on bottom eyelid and it should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward, medium eye shadow in the crease, light eye shadow under and on brow bone; matte eye shadow formulas over entire eye to balance out large eye. Close-set: Eyeliner is drawn halfway out. Liner starts at the pupil and is drawn outward. Thick eyeliner may be used on the top of the eyelid. The bottom liner can be done two different ways depending on what you want to correct: size of bulging or downturnedness of the eye shape. For bulging correction: Dark eyeliner on bottom eye line. This shape also benefits from eyeliner inside the eye’s waterline. For downturned correction: bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye and reduce the downturnedness of the eye. White liner works as an extension of the white of the eye.

[0117] Figure 10K illustrates an example tutorial for close-set (position) bulging downturned (shape) eyes. The tutorial for close-set (position) bulging downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Bulging Downturned: light eye shadow in interior area on the bottom of the eyelid and on the outer edge of the highest point of the brow bone, medium eye shadow in the crease and under and on brow bone, dark eye shadow on the eyelid extending upward on the outer edge of the eye lid. Dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward. Matte shadows are recommended for this eye shape. Light reflective formulas may be used as the light on the brow bone. Close-set: On the top eyelid the eyeliner is drawn halfway out. Liner can be dark and thick. Liner starts at the pupil and is drawn outward. Stop eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. The bottom liner can be done two different ways depending on what you want to correct: size of bulging or downturnedness of the eye shape. For bulging correction: Dark eyeliner on bottom eye line. This shape also benefits from eyeliner inside the eye’sMAKEUP-001 waterline. For downturned correction: bottom eyeliner should be white, silver, light colors, and / light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0118] Figure 10E illustrates an example tutorial for close-set (position) small bulging (shape) eyes. The tutorial for close-set (position) small bulging (shape) eyes may include, for example, instructions for applying makeup, such as: Small Bulging This eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of its anatomical features. You may choose one specific anatomical makeup pattern or possibly artistically combine patterns. Small: light eye shadow on the bottom eyelid, small amount of dark eye shadow in the crease, and medium eye shadow under and on the brow bone. Eight reflective eye product formulas make the small eye look bigger and are highly recommended. Close-set: Eyeliner is drawn halfway out. Liner starts at the pupil and is drawn outward. Liner should be thin. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye. Bulging: dark eye shadow on the bottom eyelid, medium eye shadow in the crease, light eye shadow under and on the brow bone; matte eye shadow formulas over the entire eye to balance out the large eye. Close-set: Eyeliner drawn halfway out. Liner starts at pupil and is drawn outward. Thick eyeliner may be used on the top eyelid and the bottom eye line. This shape also benefits from dark color eyeliner inside the eye’s waterline to decrease the size of the eye.

[0119] Figure 10M illustrates an example tutorial for close-set (position) small deep-set bulging (shape) eyes. The tutorial for close-set (position) small deep-set bulging (shape) eyes may include, for example, instructions for applying makeup, such as: Small Deep-set Bulging This eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of its anatomical features. You may choose one specific anatomical makeup pattern or possibly artistically combine patterns. Small Deep-Set: light eye shadow on the bottom eyelid, small amount of dark eye shadow slightly above the crease and medium eye shadow under and on the brow bone. Light reflective eye product formulas make the small eye look bigger and deep-set look less sunken in, but light reflective only as the light color on lid up through the crease. Close-set: Eyeliner is drawn halfway out. Liner starts at pupil and is drawn outward. Liner should be thin. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye and to bring the eye forward and less sunken in. White liner works as an extension of the white of the eye. Bulging: dark eye shadow on the bottom eyelid, medium eye shadow in the crease, light eye shadow under and on the brow bone; matte eye shadow formulas over the entire eye to balance out the large eye. Close-set: Eyeliner drawn halfway out. Liner starts at pupil and is drawn outward. Thick eyeliner may be used on the top eyelid and the bottom eye line. This shape also benefits from dark color eyeliner inside the eye’s waterline to decrease the size of the eye.

[0120] Figure ION illustrates an example tutorial for close-set (position) small bulging downturned (shape) eyes. The tutorial for close-set (position) small bulging downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Small Bulging Downturned This eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to workMAKEUP-001 with because of its anatomical features. You may choose one specific anatomical makeup pattern or possibly artistically combine patterns. Small Downturned: light eye shadow in the interior area of the bottom lid, medium eye shadow in the crease and under and on the brow bone, dark eye shadow on lid extending upward on the outer edge of the eye lid. The dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then apply a small amount of dark eye shadow into the crease. Light reflective formulas as the light eye shadow and matte formulas as the dark eye shadow color to create contrast. Close-set: Eyeliner is drawn halfway out. Liner starts at pupil and is drawn outward. Stop the eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye and to reduce the downturnedness of the eye. White liner works as an extension of the white of the eye. Bulging Downturned: light eye shadow in interior area on the bottom of the eye lid and on the outer edge of the highest point of the brow bone, medium eye shadow in the crease and under and on brow bone, dark eye shadow on the eye lid extending upward on the outer edge of the eye lid. Dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward. Matte shadows are recommended for this eye shape. Light reflective formulas may be used as the light on the brow bone. Close-set: On the top eyelid the eyeliner is drawn halfway out. Liner can be dark and thick. Liner starts at the pupil and is drawn outward. Stop eyeliner 1 or mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. The bottom liner can be done two different ways depending on what you want to correct: size of bulging or downturnedness of the eye shape. For bulging correction: Dark eyeliner on bottom eye line. This shape also benefits from eyeliner inside the eye’s waterline. For downturned correction: bottom eyeliner should be white, silver, light colors, and / light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0121] Figure 100 illustrates an example tutorial for close-set (position) small deep-set bulging downturned (shape) eyes. The tutorial for close-set (position) small deep-set bulging downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Small Deep-set Bulging Downturned This eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of its anatomical features. You may choose one specific anatomical makeup pattern or possibly artistically combine patterns. Small Deep-Set Downturned: light eye shadow in interior area of the bottom lid through the crease, medium eye shadow in the crease and under and on brow bone, dark eye shadow on the eye lid extending upward on the outer edge of the eyelid then apply dark shadow slightly above the crease. Dark should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then a small amount of dark eye shadow is applied slightly in and above the crease. Light reflective as the light eye shadow and matte eye shadow as the dark color to create contrast. Medium eye shadow should be matte. Close-set: Eyeliner is drawn halfway out. Liner starts at pupil and is drawn outward. Stop eyeliner 1 or 2 mm near the end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is liftingMAKEUP-001 upward. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye, bring the eye forward and less sunken in, and reduce the downturnedness of the eye. White liner works as an extension of the white of the eye. Bulging / Downturned: dark eye shadow on bottom eye lid and it should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward, medium eye shadow in the crease, light eye shadow under and on brow bone; matte eye shadow formulas over entire eye to balance out large eye. Close-set: Eyeliner is drawn halfway out. Liner starts at the pupil and is drawn outward. Thick eyeliner may be used on the top of the eye lid. The bottom liner can be done two different ways depending on what you want to correct: size of bulging or downturnedness of the eye shape. For bulging correction: Dark eyeliner on bottom eye line. This shape also benefits from eyeliner inside the eye’s waterline. For downturned correction: bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye and reduce the downturnedness of the eye. White liner works as an extension of the white of the eye.

[0122] Figure 10P illustrates an example tutorial for close-set (position) true (shape) eyes. The tutorial for close-set (position) true (shape) eyes may include, for example, instructions for applying makeup, such as: True Close-set: light eye shadow in the interior part of the eye lid and on the brow bone, medium eye shadow in the crease, dark eye shadow on exterior part of the eye lid to expand the width of the eye. Liner on top eye lid and bottom eye line drawn from the pupil outward.

[0123] Figures 11A-P illustrate example tutorials for the different shapes of wide-set eyes. As discussed above, the model may determine the position of the eyes to be wide-set and determine a shape of the eyes. The tutorial(s) may provide a method of applying makeup based on the position and shape of the eyes.

[0124] Figure 11A illustrates an example tutorial for wide-set (position) small (shape) eyes. The tutorial for wide-set (position) small (shape) eyes may include, for example, instructions for applying makeup, such as: Small: light eye shadow on the bottom eyelid, small amount of dark eye shadow in the crease, and medium eye shadow under and on the brow bone. Light reflective eye product formulas make the small eye look bigger and are highly recommended. Wide-set: eyeliner drawn across the eyelid and bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Liner should be thin. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0125] Figure 1 IB illustrates an example tutorial for wide-set (position) deep-set (shape) eyes. The tutorial for wide-set (position) deep-set (shape) eyes may include, for example, instructions for applying makeup, such as: Deep-Set: light eye shadow on bottom eyelid up through crease, dark eye shadow slightly above crease, and medium eye shadow under and on brow bone; light reflective eye product formulas only as the light eye shadow color on lid up through crease. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective formulas to bring the eye forward and less sunk in. White liner works as an extension of the white of the eye.

[0126] Figure 11C illustrates an example tutorial for wide-set (position) bulging (shape) eyes. The tutorial for wide-set (position) bulging (shape) eyes may include, for example, instructions for applying makeup,MAKEUP-001 such as: Bulging: dark eye shadow on bottom eyelid, medium eye shadow in the crease, light eye shadow under and on brow bone; matte eye shadow formulas over entire eye to balance out large eye. Wide-set: eyeliner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Thick eyeliner may be used on the top eyelid and the bottom eye line. This shape also benefits from dark color eyeliner inside the eye’s waterline to decrease the size of the eye.

[0127] Figure 11D illustrates an example tutorial for wide-set (position) downturned (shape) eyes. The tutorial for wide-set (position) downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Downturned (hooded): light eye shadow in the interior bottom area of the eyelid, medium in the crease and under and on brow bone, dark on the eyelid extending upward on the outer edge of the eyelid. The dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward. Light reflect! ve as light and matte as medium and dark colors to create contrast. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Stop eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0128] Figure 1 IE illustrates an example tutorial for wide-set (position) small deep-set (shape) eyes. The tutorial for wide-set (position) small deep-set (shape) eyes may include, for example, instructions for applying makeup, such as: Small Deep-Set: light eye shadow on the bottom eyelid, small amount of dark eye shadow slightly above the crease, and medium eye shadow under and on the brow bone. Light reflective eye product formulas make the small eye look bigger, but light reflective only as light color on lid up through crease. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Liner should be thin. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0129] Figure 1 IF illustrates an example tutorial for wide-set (position) small downturned (shape) eyes. The tutorial for wide-set (position) small downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Small Downturned: light eye shadow in the interior area bottom of lid, medium eye shadow in the crease and under and on the brow bone, dark eye shadow on lid extending upward on the outer edge of the eye lid. The dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then flip a small amount of dark eye shadow into the crease. Light reflective formulas as the light eye shadow and matte formulas as the dark eye shadow color to create contrast. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Stop the eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.MAKEUP-001

[0130] Figure 11G illustrates an example tutorial for wide-set (position) small deep-set downturned (shape) eyes. The tutorial for wide-set (position) small deep-set downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Small Deep-Set Downturned: light eye shadow in interior area bottom of lid through crease, medium eye shadow in the crease and under and on brow bone, dark eye shadow on the eye lid extending upward on the outer edge of the eyelid then turned up into slightly above the crease. Dark should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then small amount of dark flip into slightly into and above the crease. Light reflective as light and matte as dark color to create contrast. Medium eye shadow should be matte. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Stop eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0131] Figure 11H illustrates an example tutorial for wide-set (position) deep-set bulging (shape) eyes. The tutorial for wide-set (position) deep-set bulging (shape) eyes may include, for example, instructions for applying makeup, such as: Deep-Set Bulging: This eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of their anatomical features. You may choose one specific anatomical makeup pattern over another or possibly artistically combine patterns. Deep-Set: light eye shadow on bottom eyelid up through crease, dark eye shadow slightly above crease, and medium eye shadow under and on brow bone; light reflective eye product formulas only as the light eye shadow color on lid up through crease. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective formulas to bring the eye forward and less sunk in. White liner works as an extension of the white of the eye. Bulging: dark eye shadow on bottom eyelid, medium eye shadow in the crease, light eye shadow under and on brow bone; matte eye shadow formulas over entire eye to balance out large eye. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Thick eyeliner may be used on the top eyelid and the bottom eye line. This shape also benefits from dark color eyeliner inside the eye’s waterline to decrease the size of the eye.

[0132] Figure 1 II illustrates an example tutorial for wide-set (position) deep-set downturned (shape) eyes. The tutorial for wide-set (position) deep-set downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Deep-Set Downturned: light eye shadow on bottom eye lid up through crease, medium eye shadow under and on brow bone, dark eye shadow slightly above crease and dark on eyelid extending upward on the outer edge of the eye lid then turned up into slightly above the crease. Dark should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then flip into slightly above the crease; light reflective only as light color on lid up through crease. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Stop eyeliner 1 or mm near end of theMAKEUP-001 eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0133] Figure 11J illustrates an example tutorial for wide-set (position) deep-set bulging downturned (shape) eyes. The tutorial for wide-set (position) deep-set bulging downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Deep-Set Bulging Downturned: In some areas, this eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of their anatomical features. Deep-Set / Downturned: light eye shadow on bottom eyelid up through crease, medium eye shadow under and on brow bone, dark eye shadow slightly above crease and dark on eye lid extending upward on the outer edge of the eyelid then turned up into slightly above the crease. Dark should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then flip into slightly above the crease. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Stop eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye. Bulging / Downturned: dark eye shadow on bottom eyelid and it should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward, medium eye shadow in the crease, light eye shadow under and on brow bone; matte eye shadow formulas over entire eye to balance out large eye. Wide-set: eyeliner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Thick eyeliner may be used on the top eye lid. The bottom liner can be done two different ways depending on what you want to correct: size of bulging or downturnedness of the eye shape. For bulging correction: Dark eyeliner on bottom eye line. This shape also benefits from eyeliner inside the eye’s waterline. For downturned correction: bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0134] Figure 11 K illustrates an example tutorial for wide-set (position) bulging downturned (shape) eyes. The tutorial for wide-set (position) bulging downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Bulging Downturned: light eye shadow in interior area bottom of the eyelid, medium eye shadow in the crease and under and on brow bone, dark eye shadow on the eyelid extending upward on the outer edge of the eyelid. Dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward. Light reflective as the light eye shadow and matte eye shadow as the dark color to create contrast on lid, medium in the crease, light under and on brow bone; matte colors over entire eye balance out large eye. Wide-set: eyeliner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Stop eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. The bottom liner can be done two different ways depending on what you want to correct: size of bulging or downturnedness of the eye shape. For bulging correction:MAKEUP-001Dark eyeliner on bottom eye line. This shape also benefits from eyeliner inside the eye’s waterline. For downturned correction: bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0135] Figure 1 IE illustrates an example tutorial for wide-set (position) small bulging (shape) eyes. The tutorial for wide-set (position) small bulging (shape) eyes may include, for example, instructions for applying makeup, such as: Small Bulging: This eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of its anatomical features. You may choose one specific anatomical makeup pattern or possibly artistically combine patterns. Small: light eye shadow on the bottom eyelid, small amount of dark eye shadow in the crease, and medium eye shadow under and on the brow bone. Eight reflective eye product formulas make the small eye look bigger and are highly recommended. Wide-set: eye liner drawn across the eyelid and bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Liner should be thin. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye. Bulging: dark eye shadow on bottom eyelid, medium eye shadow in the crease, light eye shadow under and on brow bone; matte eye shadow formulas over entire eye to balance out large eye. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Thick eyeliner may be used on the top eyelid and the bottom eye line. This shape also benefits from dark color eyeliner inside the eye’s waterline to decrease the size of the eye.

[0136] Figure 11M illustrates an example tutorial for wide-set (position) small deep-set bulging (shape) eyes. The tutorial for wide-set (position) small deep-set bulging (shape) eyes may include, for example, instructions for applying makeup, such as: Small Deep-set Bulging: This eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of its anatomical features. You may choose one specific anatomical makeup pattern or possibly artistically combine patterns. Small Deep-Set: Small: light eye shadow on the bottom eyelid, small amount of dark eye shadow slightly above the crease, medium eye shadow under and on the brow bone. Light reflective eye product formulas make the small eye look bigger, but light reflective only as light color on lid up through crease. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Liner should be thin. Eyeliner on the top may be dark colors. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye. Bulging: dark eye shadow on bottom eyelid, medium eye shadow in the crease, light eye shadow under and on brow bone; matte eye shadow formulas over entire eye to balance out large eye. Wide-set: eyeliner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Thick eyeliner may be used on the top eyelid and the bottom eye line. This shape also benefits from dark color eyeliner inside the eye’s waterline to decrease the size of the eye.

[0137] Figure 1 IN illustrates an example tutorial for wide-set (position) small bulging downturned (shape) eyes. The tutorial for wide-set (position) small bulging downturned (shape) eyes may include, for example,MAKEUP-001 instructions for applying makeup, such as: Small Bulging Downturned: This eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of its anatomical features. You may choose one specific anatomical makeup pattern or possibly artistically combine patterns. Small Downturned: light eye shadow in the interior area bottom of lid, medium eye shadow in the crease and under and on the brow bone, dark eye shadow on lid extending upward on the outer edge of the eyelid. The dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then flip a small amount of dark eye shadow into the crease. Light reflective formulas as the light eye shadow and matte formulas as the dark eye shadow color to create contrast. Wide-set: eyeliner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Stop the eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye. Bulging Downturned: light eye shadow in interior area bottom of the eye lid, medium eye shadow in the crease and under and on brow bone, dark eye shadow on the eye lid extending upward on the outer edge of the eye lid. Dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward. Light reflective as the light eye shadow and matte eye shadow as the dark color to create contrast on lid, medium in the crease, light under and on brow bone; matte colors over entire eye balance out large eye. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Stop eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. The bottom liner can be done two different ways depending on what you want to correct: size of bulging or downturnedness of the eye shape. For bulging correction: Dark eyeliner on bottom eye line. This shape also benefits from eyeliner inside the eye’s waterline. For downturned correction: bottom eyeliner should be white, silver, light colors, and / light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0138] Figure 110 illustrates an example tutorial for wide-set (position) small deep-set bulging downturned (shape) eyes. The tutorial for wide-set (position) small deep-set bulging downturned (shape) eyes may include, for example, instructions for applying makeup, such as: Small Deep-set Bulging Downturned: This eye shape has contrasting anatomical eye shadow placements. This is one of the most challenging eye shapes to work with because of its anatomical features. You may choose one specific anatomical makeup pattern or possibly artistically combine patterns. Small Deep-Set Downturned: light eye shadow in interior area bottom of lid through crease, medium eye shadow in the crease and under and on brow bone, dark eye shadow on the eyelid extending upward on the outer edge of the eyelid then turned up into slightly above the crease. Dark should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward then small amount of dark flip slightly into and above the crease. Light reflective as light and matte as dark color to create contrast. Medium eye shadow should be matte. Wide-set: eyeliner drawn across the eyelid or bottom eye line from the interiorMAKEUP-001 corner of the eye to outward to the outer edge of the eye. Stop eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. Bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye. Bulging Downturned: light eye shadow in interior area bottom of the eye lid, medium eye shadow in the crease and under and on brow bone, dark eye shadow on the eye lid extending upward on the outer edge of the eye lid. Dark eye shadow should stop short and lift upward 1 or 2 mm before the edge of the eye in order to create the illusion that the eye is lifting upward. Light reflecti ve as the light eye shadow and matte eye shadow as the dark color to create contrast on lid, medium in the crease, light under and on brow bone; matte colors over entire eye balance out large eye. Wide-set: eye liner drawn across the eyelid or bottom eye line from the interior corner of the eye to outward to the outer edge of the eye. Stop eyeliner 1 or 2 mm near end of the eye. Lift eyeliner slightly upward to create an illusion that the downturnedness of the eye is lifting upward. The bottom liner can be done two different ways depending on what you want to correct: size of bulging or downturnedness of the eye shape. For bulging correction: Dark eyeliner on bottom eye line. This shape also benefits from eyeliner inside the eye’s waterline. For downturned correction: bottom eyeliner should be white, silver, light colors, and / or light reflective to maximize the size of the eye. White liner works as an extension of the white of the eye.

[0139] Figure 1 IP illustrates an example tutorial for wide-set (position) true (shape) eyes. The tutorial for wide-set (position) true (shape) eyes may include, for example, instructions for applying makeup, such as: True Wide-set: dark eye shadow in the interior corner of the eye, light on center part of eye lid and on the brow bone, medium eye shadow in the crease, dark eye shadow on exterior part of the eye lid to expand the width of the eye. Liner on top eye lid and bottom eye line drawn across from interior and outward.

[0140] Figures 12A-R illustrate example tutorials for the different shapes of lips. As discussed above, the model may determine the lips to be dehydrated and determine a shape of the lips. The tutorial(s) may provide a method of applying makeup based on the (de) hydration and shape of the lips. The tutorials provide text, illustrations, images, and / or video examples of corrections on dehydrated lip combinations. Lip liner is the corrective tool that creates balance and symmetry and corrects the shape of the lips. Lip liner is also used for aesthetic purposes. Colors are chosen in comparison to the person’s natural lip color. Light reflective formulas are glitter, floss, shimmer, sheer, frosted, pearlized, creme, and metallics. Dehydrated lips require gloss, sheer, and / or creme moisturizing formulas. Matte, long lasting, flitter, shimmer, frosted, pearlized, and metallic formulas should be avoided as these formulas may not apply smoothly or adhere properly to dehydrated lips.

[0141] Figure 12A illustrates an example tutorial for dehydrated downturned uneven average lips. The tutorial for dehydrated downturned uneven average lips may include, for example, instructions for applying makeup, such as: Downturned Uneven Average: Use lip liner to overdraw the thinner corners on the lip to match the fuller lip line. Use lip liner to create balance, symmetry, and evenness on the lips. Fill in the lip with your choice of sheer and / or creme moisturizing formula lip product to correct dryness.

[0142] Figure 12B illustrates an example tutorial for dehydrated uneven average lips. The tutorial for dehydrated uneven average lips may include, for example, instructions for applying makeup, such as:MAKEUP-001Uneven Average: Use lip liner to over or under draw the natural lip line to create balance, symmetry, and evenness on the lips. Fill in the lip with your choice of sheer and / or creme moisturizing formula lip product to correct dryness.

[0143] Figure 12C illustrates an example tutorial for dehydrated flat average even lips. The tutorial for dehydrated flat average even lips may include, for example, instructions for applying makeup, such as: Flat Average Even: Outline the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. Use sheer and / or creme moisturizing formulas to correct dryness.

[0144] Figure 12D illustrates an example tutorial for dehydrated small thin even lips. The tutorial for dehydrated small thin even lips may include, for example, instructions for applying makeup, such as: Small / Thin Even: Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area. Use sheer and / or creme moisturizing formulas to correct dryness.

[0145] Figure 12E illustrates an example tutorial for dehydrated large / full even lips. The tutorial for dehydrated large / full even lips may include, for example, instructions for applying makeup, such as: Earge / Full Even: Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Fill in the lip with a darker color lip product to minimize the area. Use sheer and / or creme moisturizing formulas to correct.

[0146] Figure 12F illustrates an example tutorial for dehydrated even average lips. The tutorial for dehydrated even average lips may include, for example, instructions for applying makeup, such as: Even Average: This lip shape is considered balanced and symmetrical. Use your choice of lip liner to outline the natural lip line and / or sheer and / or creme moisturizing formula lip products to correct dryness.

[0147] Figure 12G illustrates an example tutorial for dehydrated downturned uneven flat average lips. The tutorial for dehydrated downturned uneven flat average lips may include, for example, instructions for applying makeup, such as: Downturned Uneven Flat Average: Use a darker lip liner to overdraw the thinner corners on the lip to match the fuller lip line. Outline the natural lip line with a dark lip liner. Fill in the lip with a lighter color and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. Use sheer and / or creme moisturizing formulas to correct dryness.

[0148] Figure 12H illustrates an example tutorial for dehydrated downturned uneven flat small / thin lips. The tutorial for dehydrated uneven flat small / thin lips may include, for example, instructions for applying makeup, such as: Downturned Uneven Flat Small / Thin: Use a darker lip liner to overdraw the thinner corners on the lip to match the fuller lip line. Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Use lip liner to overdraw the natural lip line to create balance, symmetry, and evenness on the lips. Overdraw the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. Use sheer and / or creme moisturizing formulas to correct dryness.

[0149] Figure 121 illustrates an example tutorial for dehydrated downturned uneven flat large / full lips. The tutorial for dehydrated downturned uneven flat large / full lips may include, for example, instructionsMAKEUP-001 for applying makeup, such as: Downturned Uneven Flat Large / Full: Use a darker lip liner to under draw the fuller corners on the lip to match the thinner lip line. Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Use lip liner to under draw the natural lip line to create balance, symmetry, and evenness on the lips. Under draw the natural lip line with a dark lip liner. Fill in the lip with a small amount of a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. This particular lip shape looks balanced and symmetrical with an ombre color effect where the outer edge is darker and lip gradually gets lighter towards the center of the lip. Use sheer and / or creme moisturizing formulas to correct dryness.

[0150] Figure 12J illustrates an example tutorial for dehydrated downturned uneven small / thin lips. The tutorial for dehydrated downturned uneven small / thin lips may include, for example, instructions for applying makeup, such as: Downturned Uneven Small / Thin: Use lip liner to overdraw the thinner corners on the lip to match the fuller lip line. Use lip liner to overdraw the natural lip line to create balance, symmetry, and evenness on the lips. Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area. Use sheer and / or creme moisturizing formulas to correct dryness.

[0151] Figure 12K illustrates an example tutorial for dehydrated downturned uneven large / full lips. The tutorial for dehydrated downturned uneven large / full lips may include, for example, instructions for applying makeup, such as: Downturned Uneven Large / Full: Use lip liner to under draw the fuller corners on the lip to match the thinner lip line. Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Fill in the lip with a darker color lip product to minimize the area. Use sheer and / or creme moisturizing formulas to correct dryness.

[0152] Figure 12L illustrates an example tutorial for dehydrated uneven flat average lips. The tutorial for dehydrated downturned uneven flat lips may include, for example, instructions for applying makeup, such as: Uneven Flat Average: Use lip liner to over or under draw the natural lip line to create balance, symmetry, and evenness on the lips. Outline the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. Use sheer and / or creme moisturizing formulas to correct dryness.

[0153] Figure 12M illustrates an example tutorial for dehydrated uneven flat small / thin lips. The tutorial for dehydrated uneven flat small / thin lips may include, for example, instructions for applying makeup, such as: Uneven Flat Small / Thin: Use lip liner to overdraw the natural lip line to create balance, symmetry, and evenness on the lips. Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Overdraw the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. Use sheer and / or creme moisturizing formulas to correct dryness.

[0154] Figure 12N illustrates an example tutorial for dehydrated uneven flat large / full lips. The tutorial for dehydrated uneven flat large / full lips may include, for example, instructions for applying makeup, such as: Uneven Flat Large / Full: Use lip liner to under draw the natural lip line to create balance, symmetry,MAKEUP-001 and evenness on the lips. Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Outline the natural lip line with a dark lip liner. Fill in the lip with a small amount of a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. This particular lip shape looks balanced and symmetrical with an ombre color effect where the outer edge is darker and lip gradually gets lighter towards the center of the lip. Use sheer and / or creme moisturizing formulas to correct dryness.

[0155] Figure 120 illustrates an example tutorial for dehydrated flat small / thin even lips. The tutorial for dehydrated downturned flat small / thin even may include, for example, instructions for applying makeup, such as: Flat Small / Thin Even: Use a darker lip liner to overdraw the lip line. Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Use lip liner to overdraw the natural lip line to create balance, symmetry, and evenness on the lips. Overdraw the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. Use sheer and / or creme moisturizing formulas to correct dryness.

[0156] Figure 12P illustrates an example tutorial for dehydrated flat large / full even lips. The tutorial for dehydrated flat large / full even lips may include, for example, instructions for applying makeup, such as: Flat Earge / Full Even: Use lip liner to under draw the natural lip line. Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Under draw the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. This particular lip shape looks balanced and symmetrical with an ombre color effect where the outer edge is darker and lip gradually gets lighter towards the center of the lip. Use sheer and / or creme moisturizing formulas to correct dryness.

[0157] Figure 12Q illustrates an example tutorial for dehydrated small / thin uneven lips. The tutorial for dehydrated small / thin uneven lips may include, for example, instructions for applying makeup, such as: Small / Thin Uneven: Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Use lip liner to overdraw the natural lip line to create balance, symmetry, and evenness on the lips. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area. Use sheer and / or creme moisturizing formulas to correct dryness.

[0158] Figure 12R illustrates an example tutorial for dehydrated large / full uneven lips. The tutorial for dehydrated large / full uneven lips may include, for example, instructions for applying makeup, such as: Earge / Full Uneven: Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Use lip liner to under draw the natural lip line to create balance, symmetry, and evenness on the lips. Fill in the lip with a darker color lip product to minimize the area. Use sheer and / or creme moisturizing formulas to correct dryness.

[0159] Figures 13A-R illustrate example tutorials for the different shapes lips. As discussed above, the model may determine the lips to be normal condition (e.g., hydrated) and determine a shape of the lips. The tutorial(s) may provide a method of applying makeup based on the hydration and shape of the lips. The tutorials provide text, illustrations, images, and / or video examples of corrections on normal conditionMAKEUP-001(e.g., hydrated) lip combinations. Lip liner is the corrective tool that creates balance and symmetry and corrects the shape of the lips. Lip liner is also used for aesthetic purposes. Colors are chosen in comparison to the person’s natural lip color. Light reflective formulas are glitter, floss, shimmer, sheer, frosted, pearlized, creme, and metallics. Normal condition (e.g., hydrated) lips can use any lip product formulation.

[0160] Figure 13A illustrates an example tutorial for normal condition (e.g., hydrated) downturned uneven average lips. The tutorial for normal condition downturned uneven average lips may include, for example, instructions for applying makeup, such as: Downturned Uneven Average: Use lip liner to overdraw the thinner corners on the lip to match the fuller lip line. Fill in the lip with your choice of lip product.

[0161] Figure 13B illustrates an example tutorial for normal condition (e.g., hydrated) uneven average lips. The tutorial for normal condition uneven average lips may include, for example, instructions for applying makeup, such as: Uneven Average: Use lip liner to over or under draw the natural lip line to create balance, symmetry, and evenness on the lips. Fill in the lip with your choice of lip product.

[0162] Figure 13C illustrates an example tutorial for normal condition (e.g., hydrated) flat average even lips. The tutorial for normal condition flat average even lips may include, for example, instructions for applying makeup, such as: Flat Average Even: Outline the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner.

[0163] Figure 13D illustrates an example tutorial for normal condition (e.g., hydrated) small thin even lips. The tutorial for normal condition small thin even lips may include, for example, instructions for applying makeup, such as: Small / Thin Even: Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area.

[0164] Figure 13E illustrates an example tutorial for normal condition (e.g., hydrated) large / full even lips. The tutorial for normal condition large / full even lips may include, for example, instructions for applying makeup, such as: Large / Full Even: Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Fill in the lip with a darker color lip product and / or matte formula lip product to minimize the area.

[0165] Figure 13F illustrates an example tutorial for normal condition (e.g., hydrated) even average lips. The tutorial for normal condition even average lips may include, for example, instructions for applying makeup, such as: Even Average: This lip shape is considered balanced and symmetrical. Use your choice of lip liner and / or any lip product formula.

[0166] Figure 13G illustrates an example tutorial for normal condition (e.g., hydrated) downturned uneven flat average lips. The tutorial for normal condition downturned uneven flat average lips may include, for example, instructions for applying makeup, such as: Downturned Uneven Flat Average: Use a darker lip liner to overdraw the thinner corners on the lip to match the fuller lip line. Outline the natural lip line with a dark lip liner. Fill in the lip with a lighter color and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner.

[0167] Figure 13H illustrates an example tutorial for normal condition (e.g., hydrated) downturned uneven flat small / thin lips. The tutorial for normal condition downturned uneven flat small / thin lips may include,MAKEUP-001 for example, instructions for applying makeup, such as: Downturned Uneven Flat Small / Thin: Use a darker lip liner to overdraw the thinner corners on the lip to match the fuller lip line. Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Use lip liner to overdraw the natural lip line to create balance, symmetry, and evenness on the lips. Use dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area.

[0168] Figure 131 illustrates an example tutorial for normal condition (e.g., hydrated) downturned uneven flat large / full lips. The tutorial for normal condition downturned uneven flat large / full lips may include, for example, instructions for applying makeup, such as: Downturned Uneven Flat Large / Full: Use a darker lip liner to under draw the fuller corners on the lip to match the thinner lip line. Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Use lip liner to under draw the natural lip line to create balance, symmetry, and evenness on the lips. Use dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area.

[0169] Figure 13J illustrates an example tutorial for normal condition (e.g., hydrated) downturned uneven small / thin lips. The tutorial for normal condition downturned uneven small / thin lips may include, for example, instructions for applying makeup, such as: Downturned Uneven Small / Thin: Use lip liner to overdraw the thinner corners on the lip to match the fuller lip line. Use lip liner to overdraw the natural lip line to create balance, symmetry, and evenness on the lips. Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area.

[0170] Figure 13K illustrates an example tutorial for normal condition (e.g., hydrated) downturned uneven large / full lips. The tutorial for normal condition downturned uneven large / full lips may include, for example, instructions for applying makeup, such as: Downturned Uneven Large / Full: Use lip liner to under draw the fuller corners on the lip to match the thinner lip line. Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Fill in the lip with a darker color lip product and / or matte formula lip product to minimize the area.

[0171] Figure 13L illustrates an example tutorial for normal condition (e.g., hydrated) uneven flat average lips. The tutorial for normal condition uneven flat average lips may include, for example, instructions for applying makeup, such as: Uneven Flat Average: Use lip liner to over or under draw the natural lip line to create balance, symmetry, and evenness on the lips. Outline the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner.

[0172] Figure 13M illustrates an example tutorial for normal condition (e.g., hydrated) uneven flat small / thin lips. The tutorial for normal condition uneven flat small / thin lips may include, for example, instructions for applying makeup, such as: Uneven Flat Small / Thin: Use lip liner to overdraw the naturalMAKEUP-001 lip line to create balance, symmetry, and evenness on the lips. Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Overdraw the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner.

[0173] Figure 13N illustrates an example tutorial for normal condition (e.g., hydrated) uneven flat large / full lips. The tutorial for normal condition uneven flat large / full lips may include, for example, instructions for applying makeup, such as: Uneven Flat Uarge / Full: : Use lip liner to under draw the natural lip line to create balance, symmetry, and evenness on the lips. Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Outline the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. This particular lip shape looks balanced and symmetrical with an ombre color effect where the outer edge is darker and lip gradually gets lighter towards the center of the lip.

[0174] Figure 130 illustrates an example tutorial for normal condition (e.g., hydrated) flat small / thin even lips. The tutorial for normal condition flat small / thin even lips may include, for example, instructions for applying makeup, such as: Flat Small / Thin Even: Use lip liner to overdraw the natural lip line. Use lip liner to create a larger lip shape by overdrawing the natural lip line. Overdraw the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner.

[0175] Figure 13P illustrates an example tutorial for normal condition (e.g., hydrated) flat large / full even lips. The tutorial for normal condition flat large / full even lips may include, for example, instructions for applying makeup, such as: Flat Earge / Full Even: Use lip liner to under draw the natural lip line. Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Under draw the natural lip line with a dark lip liner. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area, create fullness, and create contrast against the darker lip liner. This particular lip shape looks balanced and symmetrical with an ombre color effect where the outer edge is darker and lip gradually gets lighter towards the center of the lip.

[0176] Figure 13Q illustrates an example tutorial for normal condition (e.g., hydrated) small / thin uneven lips. The tutorial for normal condition small / thin uneven lips may include, for example, instructions for applying makeup, such as: Small / Thin Uneven: Use lip liner to create a fuller lip shape by overdrawing the natural lip line. Use lip liner to overdraw the natural lip line to create balance, symmetry, and evenness on the lips. Fill in the lip with a lighter color lip product and / or light reflective formula lip product to maximize the area.

[0177] Figure 13R illustrates an example tutorial for normal condition (e.g., hydrated) large / full uneven lips. The tutorial for normal condition large / full uneven lips may include, for example, instructions for applying makeup, such as: Earge / Full Uneven: Use lip liner to create a smaller lip shape by underdrawing the natural lip line. Use lip liner under draw the natural lip line to create balance, symmetry, and evennessMAKEUP-001 on the lips. Fill in the lip with a darker color lip product and / or matte formula lip product to minimize the area.

[0178] Figure 14 illustrates an example display screen for the application of Figure 7. The application may include, for example, one or more inputs for selecting options related to the conditions for applying the makeup. The conditions may be lighting conditions. As described above, the lighting conditions may include natural light, fluorescent light, and / or incandescent light. Based on the lighting conditions, or combination of lighting conditions, certain makeup colors may be provided for output as part of the tutorials for applying makeup to the face, lips, eyes, or the like.

[0179] The display may include an input 1402 for lighting. The input 1402 may include an input 1404 for expanding and / or selecting different lighting scenarios. For examples, after receiving a user input corresponding to the selection of input 1402 and / or 1404, a drop down menu 1405 may be provided for output on the display. While the response to receiving an input corresponding to the selection of input 1402 and / or 1404 is shown as a drop down menu 1405, the display be provided as a pop-up rather than a drop down menu, a new screen on the application, or the like.

[0180] The drop down menu 1405 may include one or more inputs 1406a-c corresponding to different lighting conditions, e.g., natural light 1406a, fluorescent light 1406b, and incandescent light 1406c. As shown, inputs 1406a-c are checkboxes. However, inputs 1406a-c may be radio buttons or any form of selectable input. After receiving a user input corresponding to the selection of one or more inputs 1406a- c, the system may receive a user input corresponding to the selection of save input 1408. After receiving the user input corresponding to the selection of save input 1408, the Al models may provide tutorials based on the shape and / or position of facial features as well as colors to compliment the lighting conditions that the makeup will be worn in.

[0181] As an example, when the lighting conditions include natural and / or fluorescent, the colors of makeup would include brown based, yellow based, and / or neutrals.

[0182] As another example, when the lighting conditions include natural and / or incandescent, the colors of makeup would include brown based, blue based, light reflective products, and / or neutrals. Eight reflective products are shimmer, sheer, glitter, gloss, pearlized, frosted, cream, and metallic formulas.

[0183] In another example, if the lighting conditions were fluorescent and / or incandescent, the colors of makeup would include yellow based, blue based, light reflective products, and / or neutrals. Yellow based makeup includes all yellows, oranges, and greens.

[0184] In yet another example, if the lighting conditions were natural, fluorescent, and / or incandescent, the colors of makeup would include brown based, yellow based, blue based (green), light reflective products, and / or neutrals.

[0185] Figure 15 depicts a flow diagram of an example process 1500 for providing tutorials, according to aspects of the disclosure. The example process can be performed on a system of one or more processors in one or more locations. The following operations do not have to be performed in the precise order described below. Rather, various operations can be handled in a different order or simultaneously, and operations may be added or omitted.MAKEUP-001

[0186] In block 1510, the system receives digital content. The digital content can include, for example, an image or a video.

[0187] In block 1520, the system identifies a face in the digital content. For example, one or more models may identify shapes and / or outlines in the digital content. The shapes and / or outlines may correspond to the outline of a face of a person in the digital content, facial features in the digital content, or the like. In some examples, the models are trained using anatomical patterns that are labeled with corresponding facial features, e.g., facial outline, eyes, nose, lips, etc.

[0188] In block 1530, the system determines, based on the identified face, at least one of a shape or configuration of one or more facial features. The facial features include, for example, eyes, lips, mandible, or frontal bone. Determining the shape or configuration of the facial features can include, for example, executing an Al model. The received digital content and / or the identified face may be provided as input into the Al model.

[0189] When the facial feature is eyes, the shape comprises small, deep-set, bulging, downturned, small deep-set, small downturned, small deep-set downturned, deep-set bulging, deep-set downturned, deep-set bulging downturned, bulging downturned, small bulging, small deep-set bulging, small bulging downturned, or small deep-set bulging downturned, true, and the configuration comprises close-set or wide-set.

[0190] When the facial feature is lips, the shape comprises downturned uneven average, uneven average, flat average even, small / thin even, large / full even, even average, downturned uneven flat average, downturned uneven flat small / thin, downturned uneven flat large / full, downturned uneven small / thin, downturned uneven large / full, uneven flat average, uneven flat small / thin, uneven flat large / full, flat small / thin even, flat large / full even, small / thin uneven, or large / full uneven, and the configuration comprises normal condition or dehydrated condition.

[0191] When the facial feature is frontal bone, the shape comprises oval, small square, round, square, or triangle.

[0192] When the facial feature is mandible, the shape comprises oval, small square, round, square, or triangle.

[0193] In block 1540, the system identifies, based on the determined at least one of the shape or configuration, one or more tutorials. Each identified tutorial corresponds to a specific shape or configuration of a given facial feature. The tutorials may be directed to applying makeup based on the shape or configuration of the one or more facial features. In some examples, the tutorials are user specific and correspond to the identified face. For example, the identified face may be provided as output as part of the tutorials. The tutorial may be provided as an overlay on the identified face.

[0194] In block 1550, the system provides for output the identified one or more tutorials.

[0195] In some examples, the system may receive one or more lighting conditions. The lighting conditions may include, for example, natural light, fluorescent light, or incandescent light. In some examples, the lighting conditions may include multiple lighting conditions. The identified tutorials may be further based on the received lighting conditions. In some examples, the tutorials may include an indication of colorsMAKEUP-001 based the lighting conditions. The colors may correspond to colors of makeup to be applied based on the lighting conditions.

[0196] Unless otherwise stated, the foregoing alternative examples are not mutually exclusive, but may be implemented in various combinations to achieve unique advantages. As these and other variations and combinations of the features discussed above can be utilized without departing from the subject matter defined by the claims, the foregoing description of the embodiments should be taken by way of illustration rather than by way of limitation of the subject matter defined by the claims. In addition, the provision of the examples described herein, as well as clauses phrased as “such as,” “including” and the like, should not be interpreted as limiting the subject matter of the claims to the specific examples; rather, the examples are intended to illustrate only one of many possible embodiments. Further, the same reference numbers in different drawings can identify the same or similar elements.

Claims

MAKEUP-001CLAIMS1. A method, comprising: receiving, by one or more processors, digital content; identifying, by the one or more processors, a face in the digital content; determining, by the one or more processors based on the identified face, at least one of a shape or configuration of one or more facial features; identifying, by the one or more processors based on the determined at least one of the shape or configuration, one or more tutorials, wherein each identified tutorial corresponds to a specific shape or configuration of a given facial feature; and providing for output, by the one or more processors, the identified one or more tutorials.

2. The method of claim 1, wherein the received digital content includes at least one of an image or video.

3. The method of claim 1 or 2, wherein the one or more facial features comprise one or more of eyes, lips, mandible, or frontal bone.

4. The method of claim 3, wherein when the one or more facial features comprise eyes: the shape of the one or more facial features comprises small, deep-set, bulging, downturned, small deep-set, small downturned, small deep-set downturned, deep-set bulging, deep-set downturned, deep-set bulging downturned, bulging downturned, small bulging, small deep-set bulging, small bulging downturned, or small deep-set bulging downturned, true, and the configuration of the one or more facial features comprises close-set or wide-set.

5. The method of claim 3 or 4, wherein when the one or more facial features comprise lips: the shape of the one or more facial features comprises downturned uneven average, uneven average, flat average even, small / thin even, large / full even, even average, downturned uneven flat average, downturned uneven flat small / thin, downturned uneven flat large / full, downturned unevenMAKEUP-001 small / thin, downturned uneven large / full, uneven flat average, uneven flat small / thin, uneven flat large / full, flat small / thin even, flat large / full even, small / thin uneven, or large / full uneven, and the configuration of the one or more facial features comprises normal condition or dehydrated condition.

6. The method of any of claims 3 to 5, wherein when the one or more facial features comprise frontal bone the shape of the one or more facial features comprises oval, small square, round, square, or triangle.

7. The method of any of claims 3 to 6, wherein when the one or more facial features comprise mandible the shape of the one or more facial features comprises oval, small square, round, square, or triangle.

8. The method of any preceding claim, wherein when determining the at least one of the shape or configuration of the one or more facial features, the method further comprises: determining, by the one or more processors executing an artificial intelligence model, the at least one shape or configuration of the one or more facial features based on the received digital content being provided as input to the artificial intelligence model.

9. The method of any preceding claim, further comprising receiving, by the one or more processors, one or more lighting conditions.

10. The method of claim 9, wherein the identified one or more tutorials are further identified based on the received one or more lighting conditions.

11. The method of claim 10, wherein the identified one or more tutorials comprise an indication of colors based on the received one or more lighting conditions.

12. The method of claim 10 or 11, wherein the one or more lighting conditions comprise one or more of natural light, fluorescent light, or incandescent light.

13. The method of any preceding claim, wherein the tutorials are directed to applying makeup based on the determined at least one of the shape or configuration of the one or more facial features.

14. The method of claim 13, wherein the tutorials are user-specific and provided for output as an overlay on the identified face.MAKEUP-00115. A system, comprising one or more processors configured to perform the method of claims 1-14.

16. One or more non-transitory computer readable medium encoding instructions that, when executed by one or more processors, cause the one or more processors to perform operations as in the method of claims 1-14.

Images