Everyone knows how red lipstick, a seamless foundation, and fluffy false lashes can instantly elevate a makeup look, but what about blush? Even though it’s often overlooked, blush can make a dramatic difference. Depending on what formula you use and where you apply it, blush can totally change your vibe. Do you want to look youthful and lit from within like a Renaissance cherub? Or do you want to look lifted and sculpted like an off-duty supermodel? Maybe you’re going for a dramatic, draped look inspired by the ’70s and ’80s. Believe it or not, blush has a lot to do with that. Think of it this way: If you’re the sculptor, blush is your clay. Ahead, learn how to properly use and apply three types of blush—powder, cream, and liquid—straight from celebrity makeup artists. Then, learn how to use each kind to achieve three distinct makeup looks. Trust us. After this, you’ll be a bona fide blush expert.
Both makeup artists recommend using a brush to apply powder blush. Let’s start with Patrick Ta, celebrity makeup artist and founder of Patrick Ta Beauty, who has created some of our favorite blushing makeup looks on his clients like Gigi Hadid and Camila Cabello. When he applies powder blush, he uses a fluffy brush to blend two different shades together, creating an ombré effect. “I start by buffing the first shade around the cheek area to give a diffused effect, and then I use the same brush to blend a brighter shade onto the apples of the cheeks for a youthful pop of color,” he says. “My goal with blush is to always make it look like it’s coming from within the skin and not just sitting on top of it.”
Celebrity makeup artist Carolina Dalí, whose clients include Hunter Schafer and Gemma Chan, recommends using two different brushes. “One for the general area that’s a little fluffy and one for more targeted areas where you want to concentrate the color—say on the tip of the nose—or for an added lift on the highest point of the cheekbone,” she says. She applies powder blush in thin layers, blending as she goes, for a natural-looking result.
Interestingly enough, Ta’s tip for working with cream blush is to layer it on top of powder blush, not the other way around. “My technique with cream blush is to layer it on top of powder blush by stamping it on with a damp beauty sponge. My Major Headlines Double-Take Creme & Powder Blush duos are formulated to be able to layer the cream over the powder, and it just gives a luminous and glowy finish to the cheeks,” he says.
Dalí says she’s obsessed with cream blush. “It’s been my go-to since before they were a thing, and I would use lipsticks as blush, a trick I learned from my mom,” she says. “The new Makeup by Mario Soft Pop Plumping Blush Veil ($30) is to die for! I use it on nearly every job. Cream blush is superior because it gives the skin a subtle glow and looks most natural (like a second skin) and has a more true color payout than many powders. Not to mention, it wears longer and better than powder blush, and it’s easier to layer and blend.”
She says cream blush works for all skin textures, providing a naturally glowing finish. “Cream blush lasts longer than powder and liquid. When you layer cream blush first then follow with a touch of powder blush it will extend its wear by many hours. I find it’s the easiest to blend and requires very little to any makeup skills,” she adds.
When it comes to liquid blush, Dalí says it’s important to blend as soon as it touches the skin. Otherwise, it won’t look natural and like the color is coming from within. “Liquid blush is my least favorite because, generally speaking, it doesn’t blend as seamlessly as cream and powder blush. I find using my fingers and blending the second it hits the skin looks best,” she says.
Still, some people love the bold color that liquid blush can deliver, and if you work quickly enough, it can pay off. We recommend looking for liquid blushes that maintain slip on the skin for easier blending, like the Blushed Liquid Blush from Juvia’s Place.
Remember that Renaissance cherub we mentioned before? If that’s your blush vibe and you want to look radiant, soft, and youthful, adding volume to your face, you’ll need to be strategic with your blush placement. “Depending on the shape of the face, I usually apply blush on the highest point of the cheekbones, blending up and out into the edges of the face and a touch on the apple of the cheeks and center of the nose,” Dalí says. “When I want to create a natural and youthful effect, I envision how Renaissance painters like Caravaggio painted their subjects. It was a whisper of color, blended so beautifully and concentrated on the apples of the cheeks and center of the nose. The trick to this is wearing as little foundation/concealer as possible. You want to see your skin with thin layers of blush applied in an angelic-like veil of color to the face.”
If a lifted, sculpted model-off-duty look is more your vibe, Dalí has advice for that too. “When I’m looking to lift and sculpt the face, I first start with a soft application of a cream contour on the cheekbone. (Blend well—you don’t want to see any harsh lines.) Using a blush brush, I apply a cream blush to the highest points of the cheekbone, blending in toward the eyes and outward toward the hairline. You want to create a lifted motion with your brush strokes, concentrating the color on the highest point of the cheekbones,” she says. Easy, right? Oh, and speaking of cream contour, Dalí recommends either using the Makeup by Mario SoftSculpt Shaping Stick ($30) or the Westman Atelier Face Trace Cream Contour Stick ($48). Both are creamy and easy to swipe on straight from the stick.
Dalí loves the ’70s- and ’80s-inspired draped-blush look. It’s cool and dramatic and “complements all face shapes.” To create it, she recommends creating a lifting effect by concentrating the color on the upper and highest point of the cheekbones, around the brow, and close to the outer corners of the eyes. “This style instantly brightens up the face,” she says. “You can wear it with your eyes and lips pared back or to the max with strong eyes and lips and anything in between.”
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