A Quote by Anastasia Soare

Eyebrows are the most difficult beauty feature to master - we all have different bone structure, brow texture, and coloring. — © Anastasia Soare
Eyebrows are the most difficult beauty feature to master - we all have different bone structure, brow texture, and coloring.
I love eyebrows, so brow pencils and brow shadow are really important to me.
Draw attention to the brow bone by accentuating the area between the eye and the brow with a highlighter.
I was a top-notch cartoon model for Hanna Barbera, and they made me into a cartoon series called 'Devlin,' which ran for seven years, and I was on lunch pails and coloring books and all of that. It's really interesting being a coloring book when you're young - most kids colored in coloring books, but I made money off coloring books.
I don't mind my eyebrows. They add... something to me. I wouldn't say they were my best feature, though. People tell me they like my eyes. They distract from the eyebrows.
Just like hair frames our face, brows frame our eyes. I see so much potential in harmonized beauty whenever I see a woman who's not filling in her brows, and I just want to go in with my brow pencil and just be like, 'Filling in eyebrows, OK, done - look in the mirror and be inspired.' That's one of my pet peeves, but beauty is subjective.
To me, having a good brow is very important because it is what frames the most important feature on you: your eyes.
This tragic brow, these closed eyes, eyebrows raised and knotted.
I do all my coloring on PhotoShop - it's good and bad: It helped refine my color, but I do miss the texture and organic quality of the traditional.
Funnily enough, the most difficult style to do is the plain pump because it needs to look good on a variety of feet. I compare it to having a good bone structure. Make-up will make you look good, but it helps if you have a good skeleton to begin with.
The most common and most important result of them is that the nature and size of the effect on corresponding series of different elements are largely an expression of the peculiarity of their atomic structure - or, at least, of the structure of the surface.
But when my grandmother saw me plucking [my eyebrows] she said: 'Don't. You will regret it. One day you will wake up with no eyebrows and think how stupid you were. Your eyebrows are the most beautiful thing about you.'
When I went to art school in Romania, we learned the Golden Ratio Technique Theory, which taught us that when you draw a portrait and want to show an emotion, you change the eyebrows. They are the most important feature on the face.
Eyebrows are really important because they structure the face. In school it was funny because I was always the one walking around with tweezers plucking my girlfriends' eyebrows. I was really good; eyebrow tweezing runs in my family - my mother used to do mine, and I picked it up.
What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is the possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.
I'm a Jesuit when it comes to structure, but I really think that structure is defined by character. Everything serves that master.
Certainly architecture is concerned with much more than just its physical attributes. It is a many-layered thing. Beneath and beyond the strata of function and structure, materials and texture, lie the deepest and most compulsive layers of all.
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