FLUIDITY FULL-COVERAGE FOUNDATION - F5.90
SKU: 96189990207

FLUIDITY FULL-COVERAGE FOUNDATION - F5.90

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Description

FLUIDITY FULL-COVERAGE FOUNDATION - F5.90Description Pro Tips Ingredients VALUE YOUR HUE Available in 60 shades Finally. A foundation throwing major shade. 60 to be exact. Shades to fit you. And you. And you. Because the shade struggle is real. Meet a long wearing, full coverage foundation that performs like a boss and is not caught in the middle or playing sides. But instead, values your hue (and your wallet). The shade game is officially over. Your face has finally found its place in the

  • Description
  • Pro Tips
  • Ingredients

VALUE YOUR HUE

Available in 60 shades
Finally. A foundation throwing major shade. 60 to be exact. Shades to fit you. And you. And you. Because the shade struggle is real. Meet a long-wearing, full-coverage foundation that performs like a boss and is not caught in the middle or playing sides. But instead, values your hue (and your wallet). The shade game is officially over. Your face has finally found its place in the world. Say hello to an all-in kind of foundation. All the soft matte coverage. All the time. For all our babes.

BENEFITS

  • 24-hour-long wear
  • Sweatproof, transfer-resistant, water-resistant
  • Free of oils, fragrance, and parabens
  • Great for all skin types (especially normal-to-oily skin)


SHADE NAMES
LEVEL 1: Light
F1.10 (NEUTRAL: fairest with neutral undertones)

F1.20 (NEUTRAL: fairest with slightly yellow undertones)

F1.30 (COOL: fairest with pink undertones)

F1.40 (WARM: fair with yellow undertones)

F1.50 (NEUTRAL: fair with neutral undertones)

F1.60 (NEUTRAL: fair with slightly pink undertones)

F1.70 (NEUTRAL: fair with slightly peach undertones)

F1.80 (WARM: light with yellow undertones)

F1.90 (OLIVE: light with neutral green undertones)

F1.100 (NEUTRAL: light with slightly pink undertones)

F1.110 (COOL: light with pink undertones)

F1.120 (NEUTRAL: light with neutral undertones)

LEVEL 2: Medium
F2.10 (COOL: light with slightly peach undertones)

F2.20 (NEUTRAL: light medium with neutral undertones)

F2.30 (WARM: light medium with golden undertones)

F2.40 (NEUTRAL: light medium with peach undertones)

F2.50 (OLIVE: light medium with yellow-green undertones)

F2.60 (NEUTRAL: medium with neutral undertones)

F2.70 (NEUTRAL: medium with slightly peach undertones)

F2.80 (WARM: medium with golden undertones)

F2.90 (WARM: medium with peach undertones)

F2.100 (WARM: medium with rich golden undertones)

F2.110 (NEUTRAL: medium with slightly golden undertones)

F2.120 (NEUTRAL: medium with slightly pink undertones)

LEVEL 3: Tan
F3.10 (WARM: medium with slightly peach undertones)

F3.20 (OLIVE: medium with golden-green undertones)

F3.30 (WARM: medium tan with rich golden undertones)

F3.40 (NEUTRAL: medium tan with peach undertones)

F3.50 (NEUTRAL: tan with neutral undertones)

F3.60 (WARM: tan with golden undertones)

F3.70 (NEUTRAL: tan with slightly golden undertones)

F3.80 (COOL: tan with slightly red undertones)

F3.90 (WARM: tan with peach undertones)

F3.100 (OLIVE: tan with rich golden-green undertones)

F3.110 (NEUTRAL: deep tan with slightly red undertones)

F3.120 (WARM: deep tan with rich red undertones)

LEVEL 4: Rich
F4.10 (WARM: deep tan with golden undertones)

F4.20 (WARM: deep tan with rich golden undertones)

F4.30 (WARM: deep tan with golden peach undertones)

F4.40 (NEUTRAL: rich with neutral undertones)

F4.50 (WARM: rich with golden red undertones)

F4.60 (COOL: rich with cool red undertones)

F4.70 (WARM: rich with slightly red undertones)

F4.80 (NEUTRAL: rich with golden undertones)

F4.90 (WARM: rich with deep peach undertones)

F4.100 (WARM: rich with warm red undertones)

F4.110 (OLIVE: rich with neutral green undertones)

F4.120 (COOL: rich with deep red undertones)

LEVEL 5: Deep
F5.10 (COOL: rich with cool peach undertones)

F5.20 (WARM: deep with neutral golden undertones)

F5.30 (WARM: deep with rich peach undertones)

F5.40 (WARM: deep with golden undertones)

F5.50 (WARM: deep with rich red undertones)

F5.60 (NEUTRAL: deep with neutral undertones)

F5.70 (WARM: deepest with peach red undertones)

F5.80 (NEUTRAL: deepest with slightly golden undertones)

F5.90 (OLIVE: deepest with rich green undertones)

F5.100 (NEUTRAL: deepest with slightly red undertones)

F5.110 (WARM: deepest with rich red undertones)

F5.120 (NEUTRAL: deepest with neutral undertones)

Net Wt. 30 mL / 1 fl. oz.

    HOW TO APPLY

    Fluidity Full-Coverage Foundation looks bomb when it’s applied to prepped skin, the right amount of product is used, and it’s blended using the tools that are best for your skin type and the coverage you want. To get a totally flawless look, follow the steps below.

    1. Begin by cleansing your face. If you have dry skin, be sure to exfoliate. Follow with a moisturizer that’s developed for your skin type and a beauty oil, if you use one.
    2. Apply a Foundation Primer that’s formulated for your skin type. If you have combination skin, try using Revitalizer Foundation Primer in dry areas and Equalizer Foundation Primer in spots that tend to get shiny.
    3. Start application with a small, pea-sized amount of foundation. A little goes a long way.
    4. Use a damp Complexion Blending Beauty Sponge (especially if you have dry skin) to apply foundation. Or use a M439 Deluxe Buffer Brush in spots where you want the most coverage.
    5. This formula can set quickly, so continue by applying it in sections.
    6. If your skin is oily, set the foundation with Filter Effect Finishing Powder. If you have normal or combination skin, apply powder only to areas that get shiny (skip this step completely if you have dry skin).
    7. Finish with Continuous Setting Mist.

    FOR A GLOWY FINISH

    Mix one drop of your fave liquid highlighter into a pea-sized amount of foundation and apply using the steps above to get an all-over luminous look.

    A FEW EXTRA TIPS

    • Everyone’s skin tone varies, so decide if you want to match your foundation to your face, neck, or décolletage.
    • When you’re looking for that perfect match, let the shade dry down completely before you decide if it’s the one.
    • Remember that the depth of your skin tone can vary based on the season and your exposure to the sun, so the shade you wear in the summer might be totes different from your winter hue.

    FIND YOUR SHADE SQUAD

    Ingredients: Cyclopentasiloxane, Water/Aqua/Eau, Isododecane, Methyl Methacrylate Crosspolymer, Butylene Glycol, Mica (CI 77019), Dimethicone, PEG-10 Dimethicone, PEG/PPG-18/18 Dimethicone, Acrylates/Dimethicone Copolymer, Butylene Glycol Cocoate, Silica Silylate, Phenyl Trimethicone, Dimethicone Crosspolymer, Polyglyceryl-3 Diisostearate, Disteardimonium Hectorite, 1,2-Hexane Diol, Polyglyceryl-6 Polyricinoleate, Tocopherol, Triethoxycaprylsilane, Magnesium Sulfate, Cyclohexasiloxane, Ethylhexylglycerin, Propylene Carbonate, Polyhydroxystearic Acid, Hydroxyacetophenone, Caprylhydroxamic Acid, Phenoxyethanol. +/- May Contain/Peut Contenir: Iron Oxides (CI 77491, CI 77492, CI 77499), Titanium Dioxide (CI 77891).

    Shipping Notes
    • Free Standard Shipping on $100+ Orders to the USA.
    • Except Preorder products are shipped in 48 hours.
    • Delivery to the USA:
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    Exchange/Return Notes
    • We offer a 30-day return/exchange service after receiving.
    • Final sale items are not eligible for returns or exchanges.
    • To process your return/exchange, please contact us at [email protected]
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    SKU: 96189990207

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    4.8 ★★★★★
    Based on 848 reviews
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    Product Reviews
    D
    Verified Purchase
    Diana D
    Waukegan, US
    ★★★★★ 5
    Very well written and easy to read.
    Format: Paperback
    Few people are as qualified as Philip Meyer to write a book on storytelling for lawyers. With a background as a trial lawyer, he has plenty of practical, real-life experience in the courtroom. His approach is not that of an academic giving purely theoretical advice, but that of a seasoned lawyer who knows the ins and outs of the legal profession. His experience as a professor (of both law and writing) has honed his ability to effectively communicate his ideas to a broad audience. Not only is this book helpful for the practicing lawyer, it is also useful and not too complex for the legal neophyte or casual reader. This book breaks storytelling (narrative) down to its core components and analyzes them one by one. In the process of analyzing each part of a story, Philip Meyer skillfully explores each component with a non-legal example (e.g. movies, books, etc.) before applying it to a legal example (e.g. courtroom proceedings, appellate briefs, closing arguments, etc.) By first analyzing each part of a story (i.e. plot, setting, etc.) from a well-known story that resonates with the reader, he sets a strong foundation before transitioning to a legal story, thus making it easy for the reader to identify and better understand each part of the legal story. I highly recommend this book to anyone remotely interested in storytelling and persuasion as they relate to the legal profession.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on November 22, 2016
    J
    Verified Purchase
    JR
    Carnegie, US
    ★★★★★ 4
    Must Read for Novice Litigators
    Format: Paperback
    This book is a great starting point for developing the skill of storytelling for lawyers as was intended by the author. The author gives you the basics for developing the plot, characters, style, setting, and narrative for your trial with excellent examples. The author is a law professor and the book seems geared for the law student or novice lawyers getting into litigation. I only gave the book 4 out of 5 stars because of a couple of minor problems. However, the chapter on narrative needs further exposition and appears to be written in rushed manner. In addition, the physical binding of the book is of poor quality requiring me to glue the cover back on. Finally, the author missed the point that the lawyer's job is to look at his case as a giant puzzle to be solved and then explained as a story.It is not enough to understand your case but equally imperative that you communicate your case which is best done through the storytelling technique. This is a must read for lawyers getting up to speed on litigation. For further exposition on legal storytelling for lawyers after reading Meyer's book on Storytelling for Lawyers, I recommend the following: ABA webinar available with an internet search for "Storytelling for Lawyers"
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on July 25, 2018
    T
    Verified Purchase
    Tahoeman
    Pawtucket, US
    ★★★★★ 5
    Much needed guide to narration in law practice
    Format: Paperback
    Meyer’s “Storytelling for Lawyers” is an important contribution to the literature on narration in law practice. We know that successful courtroom rhetoric can best be viewed through the prism of storytelling. But the literature does not contain a practical and detailed analysis of the elements of narration as used in law practice—that is, plotting, characterization, point of view, style, and settings in place and time. Meyer’s book fills this gap. It is blessedly free of jargon and full of practical examples of good legal storytelling. But the importance of this book goes well beyond providing practical assistance to litigators. It serves as a much-needed introduction to the principles of narration for teachers and students of literature, creative writing, and popular culture, who have lacked a readable introductory guide to the elements of successful storytelling.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on February 10, 2014
    D
    Verified Purchase
    David R. Papke
    Alexandria, US
    ★★★★★ 5
    Recommended for All Lawyers
    Format: Paperback
    Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on May 7, 2014
    D
    Verified Purchase
    DoubtfulReader
    Charlottesville, US
    ★★★★★ 3
    Notes on Legal Style by a Law Professor and Experienced Lawyer.
    Format: Kindle
    BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on June 27, 2017

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