Yesterday I divided my methods for dividing an eyeshadow palette into easily digestible parts in order to be able to recognize color combinations better. I've also presented some more advanced methods that build on these basics. All of these techniques work on all palettes, even more chaotically, but let's give it a try and then take it to the next level with a "messy" eyeshadow palette. It's still about breaking down many colors into smaller sections and working from there!
Start visualizing shapes
I think that approaching the more unusual palette layouts through my methodological approach is still a good place to start, especially for those who don't easily see color combinations jumping out of them.
Anastasia Norvina Pro pigment pallet was one of the more chaotic pallets that have emerged recently. That's why I chose Norvina Vol. 1. 3 to guide readers through the use of the basic methodology to break it down into smaller parts and some additional techniques to take them to the next level.
With Norvina Vol. 3, I started segmenting vertical fifths (columns with five shades). With this particular color scheme, you'll find that the greens really pop out, while many other tones are more complementary. Generally speaking, palettes like Norvina Vol. 3 are sometimes messy because they have been arranged with much less regard for complementary tones, surfaces and depths AND there are many vivid hues that can make it difficult for the eye to focus on a particular section.
You can rearrange any palette that I colored and photographed using our Color Story tool. However, most pallets are not designed for real life rearrangement, so it can be difficult to personally enjoy the rearranged pallet. Physically rearranging the palette from light to dark, from matte to shimmering, or grouping it into cooler and warmer tones can make a big contribution to understanding a palette's color scheme if it otherwise appears chaotic. I actually shared my own arrangements for the Norvina Vol. 1 (rearranged to create better quads, fifths, rows / columns), volume 2. (color rearranged) and volume 1. 3 pallets (color rearranged) in the Past.
Hopefully, these techniques and tips will help you visualize your palette and get more out of it when you actually open it and try to use it!
How to solve after chaos
By visualizing the shapes, we have divided the palette into smaller, more visible sections. However, in this palette there are much more contrasting and complex color combinations that can make it more difficult to visualize them together in an actual appearance.
To "look for chaos", I took out a shade from each vertical fifth I created and decided to remove the "odd" one. This would be the color you would look at and say, "What should I do? to do with ??? ”(The simple answer is a splash of color on the eyelash line!) It's like a random bluish cast in dozens of neutral palettes. However, it can be distracting, and you can see that much more of the orange and pink tones merge around each other once you start ignoring the stronger shades. I repeated this with horizontal fifths together with primary and secondary sextets (groups of six).
Depending on the color scheme of the palette and the problems you're having, it may also be convenient to remove one or two tones from a section using one of the following:
- take out the lightest or darkest tone,
- take out a shimmer or mat,
- or remove a duplicate.
Start with less shade
Often, pallets that are not arranged intuitively can be better understood and processed with smaller groups such as trios. This can create a foundation for colors first, and then you can add what you need. You can also do this with duos.
For example, on the first slide it is more difficult to mix A3, A4 and A5 because Chartreuse (and all three are matte) appears. An easy way to match two contrasting colors seamlessly is to glue a lighter one. A lighter shimmer in between (e.g. D5) so that you can start with the trio and then look for the perfect fourth color in the palette if you know you're looking for something more specific. Then you can use A4 on the inner cover, D5 in the middle, A5 on the outer corner / fold and A3 as fold / transition color.
You want to look at the grouping you're interested in and what else you might need. It's often something else (a matte to work with three shades, or a shimmer to work with three mats), something lighter or deeper (three lighter shades want something to contrast, so get darker), or something that helps mix or match tones (maybe a blue to close the gap between green and plum).
Build a combination with complementary colors
Understand chaotic eyeshadow palettes Understand chaotic eyeshadow palettes Understand chaotic eyeshadow palettes
In these photos I tried to show a quad of colors and then how I look and think about colors. Complementary shades are colors that blend more naturally, which means that they are closer together in the color wheel (or think of a gradient between rainbow red, orange and yellow that is infinitely easier to mix than red to green to purple). These are shades to the left and right of a color when you think of a wheel or a horizontal spectrum.
In the first photo, I shot one of the primary quads (C1, C2, D1, D2) that tolerate some contrast and may be less tone on tone (it's pretty warm and orange in and of itself, though it could be as a standalone Quad can be used). Since the quad I started with was warmer with more gold and orange tones, I looked for shades like yellow, pink, red, and orange to combine. I highlighted these additional shades that you can choose from to complete a look.
In the second photo, I selected a slightly more complex color combination from the quad, which contains B4, B5, C4 and C5. When I see it, I think I need at least a lighter or higher contrast shimmer to pair with C5 (a shimmering green), so I looked for lighter shades like C1 (yellowish gold) and D5 (lighter orange) that warmer tones would work, but also the feeling that B1 (shimmering, light blue) could work because the green was not particularly warm.
I also pulled out coordinating tones to mix between B4, C4, and B5 by looking for warmer tones that were more mid-range. I had the feeling that the cooler green with C5 could act as a mixed color in the fold if I wanted a greener look. The third photo shows my ultimate choice: I chose a gradient from C1 to B1 to C5 on the lid with C4 in the deepest part of my crease, B4 in the crease and B5 to diffuse from crease to forehead and blend C1 as Eyebrow highlight, and then use E5 on the bottom lash line to bring it all together.