Education Portal for Students in India

One reason it is important to study the history of esthetics is that understanding how materials used in early beauty preparations can help in determining how materials are used today. In early times, grooming and skin care were practiced primarily for attractiveness.
View complete answer

What is the history of esthetics?

A Brief History of Esthetics Esthetics is derived from the Greek word aesthetikos, which translates into “perceptible to the senses”. An esthetician is someone who offers skin care services. During early times, skin care and grooming were practiced less for attractiveness and more for self-preservation.

Personal beautification Religious ceremonies Preparing their deceased for burial Reddish hair dye Tattooing Decorating their fingernails

View complete answer

Why should estheticians study?

Understanding The Progression Of Skin Care Through The Ages – Skincare has always been a predominant concern for people, from the tradition of ancient Egyptians bathing in milk to the application of facial powder by the Victorians. No matter the period, skin treatments have always been something people have done.

• Understanding how exactly skin care has progressed through the ages can give you valuable insights into how a cosmetic treatment changes throughout time, incorporating the developments in its own beauty industry with the demands of the market.
• For skincare specialists, learning to adapt and respond to market demand can often be the difference-maker in the success of their own eventual businesses.

Learning how skin care has progressed also teaches students valuable insight: into how skin treatments evolve and change over time. This allows them to spot trends before they saturate the market, and incorporate innovations in cosmetic skin care treatments with their own practices to provide better service.
View complete answer

What are the reasons why estheticians need an understanding of chemistry?

What is Chemistry? Chemistry: the branch of science that deals with the identification of the substances of which matter is composed; the investigation of their properties and the ways in which they interact, combine, and change; and the use of these processes to form new substances.
View complete answer

Why do estheticians need to know anatomy and physiology?

Estheticians take esthetician courses in anatomy and physiology because it helps them understand how the body works on a fundamental level. This allows them to recognize potential skin problems early on before they become more serious health issues.
View complete answer

What is the theory of esthetics?

2 Seeking Salience – The challenge for studies in neuroscience of art is how to locate artworks. Research in neuroscience of art is well-suited to elucidate how we recognize the identity, content, and subject of an artwork. But the artistic value of a work does not lie in how we perceive it.

• Rather it emerges from the practices governing how we use it, in our understanding of the normative conventions that govern its role in a communicative exchange between artists and communities of consumers.
• The challenge is how to bring the perceptual and communicative aspects of our engagement with artworks together.

I can imagine that there is an easy reply lurking in the back of some readers’ minds. The folk intuition about art is that artistic salience is linked to the aesthetic value of a work. If the folk intuition were sound, then perceptual explanations of aesthetic features would stand as explanations of the artistic salience of artworks.

• There is something to this reply.
• The pleasures of aesthetic experience play a foundational role in the commonsense understanding of art.
• The folk intuition belies an aesthetic theory of art,
• Aesthetic theories define artworks as artifacts intentionally designed to trigger aesthetic experiences in consumers.

Aesthetic experiences are experiences of the aesthetic qualities of artworks. The aesthetic qualities of artworks are perceptible properties of works, e.g., the unity of a composition, the vibrance of color relations, or the dynamics of different formal arrangements of lines and shapes.

When we explain how these different formal aesthetic effects emerge in our perceptual engagement with a work, the thought goes, we have explained its artistic qualities. An aesthetic theory of art, therefore, shows us how to locate art in the lab and paves the way for a biological theory of artistic value.

A range of difficulties plague this approach. The first and most glaring is that art and the aesthetic do not align with one another in the way an aesthetic theory of art would have it. It simply isn’t the case that all artworks are artifacts intentionally constructed to generate aesthetic experiences.

1. Oldenburg’s Placid Civic Monument is a case and point.
2. Whatever it is that we are supposed to see when we look at the work correctly, it isn’t the aesthetic qualities of its formal composition.
3. Even if we are supposed to initially recognize the careful symmetry of the hole as an aesthetic quality, a critical part of the work is to erase it, to deny its status as a constitutive formal element of the work as a whole.

In fact, Oldenburg’s role in the production of the work suggests that the formal-compositional properties of the hole are beside the point. He plays no role in any part of the actual material execution of the work (except to measure to make sure it meets the specs laid out in his blueprint).

This is a work of conceptual art. It’s identity is tied up in economy of ideas involved in its inception and the communicative exchange it supports. The history of conceptual art is a rich source of nonaesthetic art. But a similar story can be told about more traditional artworks. Warhol’s hand painted reproductions of Campbell’s soup cans share the same general aesthetic qualities as the labels they reproduce.

This is also true of his silk-screened Brillo boxes. If these formal attributes were artistically salient features of the work simply because they were perceptible aesthetic qualities, then the original soup cans and Brillo boxes ought to be artworks as well.

I suppose they could be given the right context. But they aren’t. This is yet another instance of a now familiar problem. The world is replete with aesthetic properties. Perceptual explanations of the aesthetic qualities of objects and events apply equally to art and nonart cases. Therefore, they fail to locate art.

What matters for art is how aesthetic properties are used to express or communicate the point of a work, not how we perceive them per se. An aesthetically striking presentation of a morally difficult subject might, against our better judgment, captivate our attention in a way that induces an aesthetic response.

This, in turn, might generate a moral conflict that is the point of the work. Alternatively, the purpose of the aesthetic styles adopted for Renaissance and Baroque paintings of religious themes was not merely to trigger an aesthetic experience. The artistic value of these works lies in the way the artist has used these aesthetic qualities to shape our understanding of their subject matter, to envelop them in an aura of revelation.

A perceptual explanation of the aesthetic qualities of these two kinds of works would fail to disambiguate them. It would therefore fail to locate them as artworks. We recognize aesthetic features by their phenomenological profile, by an unspecified, perceived aesthetic quality of objects and events.

The intuition underwriting much research in neuroscience of art is, as discussed above, that we can explain the aesthetic properties of artworks by explaining how these qualitative aspects of experience emerge in perception. Consider, for instance, the experience of the range of formal aesthetic dynamic qualities exhibited in Monet’s natural landscapes ( Livingstone, 2002 ).

The blooms of the flowers in Poppies (1873) are equiluminant with the field of grass against which we see them. This entails that viewers must recover their shape from color rather than luminance contrast. The spatial acuity of shape from color is comparatively imprecise ( Rollins, 2004 ).

• It is hypothesized that viewers therefore see the poppy blooms vibrantly shimmying back and forth in the wind.
• Livingstone argues that the light–dark pattern of the waves in Railroad Bridge at Argenteuil (1874) is encoded as a luminance grating on the retina.
• Accommodation and microsaccades are thought to render this luminance grating as a dynamic contrast reversal pattern.

The early visual cortex reads cyclic contrast reversal patterns as motion cues. Viewers consequently perceive a vibrant, shimmering, back and forth motion in the waves—an example of a visual illusion called the MacKay Effect. But, of course, the visual field is replete with nonaesthetic examples of these kinds of dynamic perceptual effects.

• They occur everywhere the environmental conditions are correct, e.g., real poppy fields on a still day or the perceived shimmering motion in the slats of Venetian blinds.
• That is why these productive strategies work in paintings.
• They are fine-tuned to ordinary perceptual processes.
• So these explanations do not alone provide any purchase in explanations of the aesthetic quality of aesthetic properties.

Latto has argued that the solution to this problem is in the tuning. Aesthetic features are features that are exhibit an optimal resonance with underlying neurophysiological processes. We find a similar line of reasoning in Zeki’s writing on neuroaesthetics ( Zeki, 1999 ; Zeki and Lamb, 1994 ).

When an artwork is fine-tuned to the operations of perceptual systems, consumers experience the resonance between the two with a perceptual immediacy constitutive of an aesthetic experience. The trouble with this hypothesis is that the luminance ramps used to study Mach bands in the lab optimally resonate with target neurophysiological processes as do the luminance gratings used to study the MacKay effect.

If this model for aesthetic properties were sound, we ought to experience both as aesthetic objects. But we don’t, at least not in ordinary circumstances. Therefore, this explanatory strategy fails to carve out what is uniquely aesthetic about the target formal qualities of Monet’s paintings.

• Neuroscience of art fails to locate even the aesthetic in the lab.
• But, even if it did, it wouldn’t help.
• The artistic salience of the dynamic formal features in Monet’s paintings does not lie in their aesthetic quality.
• Rather it emerges from their use in the paintings, from the way the artist has used these features to convey the point or purpose of each work—in this case the depiction of the dynamics and fleeting temporality of pedestrian moments in everyday experience.

Read full chapter URL: https://www.sciencedirect.com/science/article/pii/S0079612318300062
View complete answer

Why should estheticians study diseases and disorders?

Care, recognizing skin diseases and disorders allows you to refer clients to medical professionals when necessary, and understanding the latest developments in ingredients and state-of-the-art delivery systems will help you protect, nourish, and preserve the health and beauty of your client’s skin.
View complete answer

Why is it important for the esthetician to determine a clients skin history?

What Are You Looking for During Skin Analysis? – Skin is as complex as the personalities of clients who will walk through your door. Understanding skin type – from dry to oily, combination skin and normal – and any characteristics like redness, texture, rashes, clogged pores, will help guide your treatment recommendations.
View complete answer

What is important to an esthetician?

Detail Oriented

– An esthetician must be detail-oriented and efficient. You should be observing the skin and asking questions at the beginning of a spa treatment, so you are able to customize their treatment. If you have a knack for the fine details, becoming an esthetician may be a great career option for you.
View complete answer

Why is it important as an esthetician to understand factors that affect the skin?

Why Skin Analysis Is the Key to All Successful Facials – Ciel Spa Have you ever been to an esthetician and leave amazed at the fact they seem to know exactly what is going on with your skin? Before any facial, a professional esthetician should perform a to familiarize themselves with your particular skin better, assess its condition, and look for any underlying issues.
View complete answer

Why do you think that estheticians should study and have a thorough understanding of disorders and diseases of the skin?

Skin Analysis – Any esthetician must understand the structure of the skin as well as the different skin disorders that can affect its appearance. Common skin concerns addressed by estheticians include acne, scarring, rosacea, wrinkles and other signs of aging, and sun damage.
View complete answer

Why do estheticians need to understand the anatomy of facial muscles?

No matter how long ago it was, we all remember sitting through anatomy and physiology in aesthetics school. Literally memorizing the muscles, bones, arteries and veins in a desperate at- tempt to pass the test, and hopefully retain enough memorization to make it through the state boards.

Now skin physiology was another thing – that just made sense – and knowing why we needed to know it made sense But the other stuff just seemed a bit mind boggling! Well, if only we knew then what we know now, we just might have paid better attention! Every aspect of the aesthetics curriculum has come full circle, and what may not have seemed important 15 years ago is at the forefront of what we need to know now – and the anatomy of the face is one of them.

From Botox®, fillers and facial surgeries to microcurrent, radio frequencies, high frequencies and ultrasound; a complete and thorough understanding of the anatomy of the face and neck is absolutely critical. So let us have a review. The muscles and bones of our face are not only the core foundation, but the structural format for our skin and facial features.

Together they provide the skin of the face with an intricate framework for uniqueness and beauty. The Facial Bones Human beings are born with 300 bones, but adults have only 206 since several fuse together. There are eight cranial bones and 14 facial bones. The facial bones create the structural foundation for the face and the origination point for the facial muscles.

Bones are composed of two-thirds mineral matter, one-third organic matter, and account for anywhere from 14 percent to 20 percent of body weight. The facial skeleton consists of 14 stationary bones and a mobile lower jawbone (mandible). These 14 bones form the basic shape of the face, and are responsible for providing attachments for muscles that make the jaw move and control facial expressions.

Mandible – the largest bone of the facial skeleton and forms the lower jaw (jawbone). Maxillae – two bones that form the upper jaw. Zygomatic – two bones that form the cheekbones(malar bones) and the bottom of the eye socket. Lacrimal – the two smallest and most delicate bones of the facial skeleton that form the inner, bottom wallof the eye socket. Nasal – two oblong shaped bones that join and formthe bridge of the nose. The remaining facial bones are not directly linkedto aesthetic contact, yet remain critical in the overallformation of the facial skeleton. Palatine – two bones that form the roof of the mouth. Vomer – the bone that forms the lower part of thenasal septum. Inferior Nasal Conchae – delicate spongy bones thathelp to divide the nasal cavity.

The skeletal structure of the face remains quite constant throughout life, aside of course from injury or surgery. Recent studies have indicated that the skeletal morphology does change with age with a slight increase or decrease of height and length of various skeletal facial structures.

• With the growth and readjustment of bones, studies have shown a noticeable shift of the forehead moving forward and the cheekbones mov- ing back! This change in skeletal size can certainly contribute to the overall aging appearance of the entire face since it acts as the structural foundation.
• The Muscles of the Face The muscles of the face are subcutaneous (just under the skin), striated muscles that voluntarily control facial expression.

They are also referred to as mimetic muscles. These muscles originate on bone and insert on the skin of the face. Fortunately for the sake of learning, the names of facial muscles coincide with the related facial bones. They are broken into three main categories: muscles of the mouth, muscles of the eyes and nose, and muscles of the scalp.

Zygomaticus – the muscle that extends from the zygomatic bone to the corners of the mouth, forming the muscle of the cheek that draws all facial expressions upward. Oris Orbicularis – a sphincter (circular) muscle made of multiple layers of fibers that circle the entire mouth. Its role is to contract and pucker the lips. Buccinator – a thin, flat muscle located between the jaw and the cheek forming the wall of the cheek. Often referred to as the “blowing” muscle since it is used in blowing and whistling. Quadratus Labii Superioris – a three part muscle that extends from the upper lip to the upper cheek (zygomaticus). Its role is to raise the nostrils and the upper lip. Quadratus Labii Inferioris – muscles located on each side of the mouth, below the lower lip. Their role is to pull the lower lip down and/or outward. Mentalis – pair of muscles located in the center tip of the chin. Their role is to push the lower lip up and wrinkle the chin as in displeasure. Risorius – muscles located at the corner of the mouth that pulls the corners of the mouth up and out when laughing and grinning. Caninus – muscles located above the corners of the mouth. They slightly raise the corners upward. Triangularis – muscles located below the corners of the mouth that draw it downward. The muscles of the eye are of great importance to the aesthetician since the skin around the eyes is the first to show the signs of aging. It is very thin in close contact to the muscles below. Orbicularis Oculi – a sphincter muscle that circles the entire eye socket and closes the eye lids.

Epicranius Aponeurosis

Levator Palpebrae Superioris – the muscle located in the inner/upper orbit of the eye that lifts the eyelid. Corrugator – a muscle located beneath the frontalis, between each orbicularis oculi. This muscle draws the eyebrows down and in, as in frowning. Procerus – the muscle located at the bridge of the nose (also known as the glabella). This muscle aids in drawing the skin at the center of the forehead down, creating wrinkling across the bridge of the nose. The muscles of the scalp are frequently referred to as the epicranius and are made up of the frontalis and occipitalis, which are joined together by a tendon called the aponeurosis. Frontalis – this muscle extends from the front the lower forehead to the top of the skull. Its job is to raise the eyebrows and pull the scalp forward. Occipitalis – this muscle is located at the back of the skull, the nape. It draws the scalp backwards.

A clear understanding of each of the facial muscles is critical to the skin care professional for a multitude of reasons. First, facial massage. Massage movements should always be directed from origin to insertion, understanding where the muscle is attached to the originating bone is the only way to ensure proper technique.

1. Second, the wide array of technologically advanced aesthetic treatments that directly affect muscle tone and strength.
2. As an individual ages, many factors influence the integrity of the facial muscles and their direct connection to matura- tion changes across the face.
3. Nowledge of each of the facial muscles allows an aesthetician to understand precisely which muscles are contributing to any changes.

Interestingly enough, as we age muscles naturally become more lax, less toned, and more unresponsive to control. The Lymphatic and Vascular System An understanding and knowledge of both the lymphatic and vascular systems are necessary since they serve as the primary means of nourishment of the skin and detoxification.

An entire article could be written on each of these systems and their intricate components! The facial and carotid arteries are the major arteries that supply blood to the skin of the face, while the jugular vein is the primary vein that carries deoxygenated blood away from the head and face. Minute arteries and veins not only feed and nourish the entire body, but in particular to the aesthetician the muscles and the skin.

They are closely intertwined throughout the subcutaneous and dermal layers of the skin. By supplying these areas with abundant blood flow, the vascular system ensures healthy, vibrant, optimally functioning skin and firm, well-toned muscles. The lymphatic system is the major waste removal system of the skin.

1. It drains the head and neck of excess intercellular fluid (or lymph) by means of delicate lymph vessels.
2. Excess lymph fluid drains from the face, head and neck into the jugular ducts and empties waste fluid into both the right lymphatic duct and the thoracic duct.
3. Lymph nodes are oval-shaped organs connected to lymphatic pathways and act as filtering stations to identify and trap foreign substances so that antibodies can destroy them.

Once destroyed the viral or bacterial debris is flushed from the body via the lymph fluid. Each of the above noted systems play a critical role in the health, function, condition and appearance of the skin; and aesthetic treatments have a direct effect on each of them.

Stimulating Facial Muscles Facial massage has a direct impact on the anatomical structures of the face. Many massage techniques are used to relax facial muscles, relieving the face, head and neck from tension and stress-triggered pain; while other massage techniques can help to restore muscle function and tensile strength.

Massage manipulations increase circulation, providing nourishment to the muscles, nerves and the skin; this increases in circulation not only increases blood flow for nourishment, but increase vascular and lymphatic flow to improve waste removal. An increase in vascular and lymphatic blood flow is beneficial in reducing built up toxins, puffiness, and swelling and will increase the healing process in the event of any type of trauma to the skin.

Microcurrent utilizes electrical currents to cause facial muscles to tighten and create a lifting and firming effect on the skin. Although relatively temporary, this method is quite effective. Ultrasound and Radio Frequency have been shown to visibly tighten and lift skin by stimulating collagen produc- tion in the dermis.

Conclusion The list of treatments that affect muscle, circulation and the skin continues to grow every day. The important point to understand is that without a sound understanding of the systems in which these treatment modalities affect, it is not possible to properly perform them – or better yet, properly discuss their benefits and effects with your clients.
View complete answer

Why is anatomy study necessary?

Why Learning Anatomy and Physiology is Important for LPNs Anatomy and Physiology are one of the most prominent and crucial subjects of medical and nursing education. Without studying these essential topics, no doctor, nurse or physician can work & function in the medical and healthcare sector.

• Anatomy is basically the study of structure, framing, and the relationship between body parts.
• Physiology, on the other hand, is the branch of medical science that deals with the study of functions of body parts as a whole.
• Various medical schools conduct several anatomy and physiology classes or commonly called as A&P Class to make students familiar with the human body and how it operates in reality.

These anatomy and physiology classes make students understand these basic following points:-

The functions of the human body The framework of body parts Location of various organs Location of cells and tissues Knowledge regarding body systems like the nervous system, respiratory system, digestive system, reproductive system, etc. Understandings regarding various bones and joints, and a lot more.

There are various reasons due to which an A&P Class is a must for LPNs. Some of the prominent ones are as follows:- Fundamental Knowledge Anatomy and Physiology provide basic knowledge about the human body. It helps in clearing the fundamental concepts as to how our bodies function.

• Theoretical & Practical Knowledge With the help of the classes of anatomy and physiology, one gets to learn not only the theoretical concepts but practical functionalities of the human body too.
• It is not only a theory-based subject of science but a practical-oriented subject too.
• Conditions of Emergencies Knowing human anatomy helps in cases of emergencies as well.

In the absence of supervising doctors or nurses, LPNs are the ones who are supposed to take care of patients in emergencies. To cope with such situations, an LPN should be familiar with the concepts of anatomy and physiology which can, ultimately, prove to be of great help.

Tracking of Patient’s Health Anatomy and Physiology education help in understanding the health status of patients. It helps in assessing, evaluating, diagnosing and tracking a patient’s health. The theories of this subject assist in comprehending the overall condition of the human body. Improves Medical & Clinical Skills Having apt learning about human anatomy helps in improving and polishing the medical and clinical skills & competencies of LPNs.

Since these, both topics are quite integral to medical science, they help LPNs in becoming a well-skilled nurse. Quick Recognition & Analysis of the Cause of Illness When an LPN is familiar with the fundamentals of human anatomy, he/she can promptly recognize and analyze a patient’s cause and roots of illness.

These significant topics of science assist an LPN to examine a patient’s health condition quickly and make them take the correct decision at the right time. Thus, because of these notable reasons, anatomy and physiology prove to be of great importance in the nursing education of LPNs. So, if you are looking forward to joining an anatomy and physiology course near me or searching for anatomy classes near me, you can consider enrolling in Verve College.

We provide accredited A&P Prep Courses that can help you master the skills and knowledge of human anatomy. Become a part of the noble nursing arena with Verve College and embark upon a successful LPN journey. : Why Learning Anatomy and Physiology is Important for LPNs
View complete answer

Why is it important to know facial anatomy?

Knowing the facial anatomy is fundamental to performing more than aesthetic surgery. A provider’s lack of understanding of the intricate web of facial muscles, nerves, arteries and more can turn a relatively simple injection technique, with botulinum toxin or a filler, into a serious complication. “All injectors — dermatology to facial plastic and plastic surgery to oculoplastic and maxillofacial surgeons — should have a very good knowledge of the facial anatomy,” says Manolis G Manolakakis, D.M.D., director of the facial cosmetic surgery fellowship at RWJ Barnabas-Monmouth Medical Center, a diplomate of American Board Facial Cosmetic Surgery and fellow of the American Academy Cosmetic Surgery.

“That includes the subcutaneous planes of anatomy: different nerves, muscles, as well as blood vessels, and whether they’re arteries, veins, big ones, little ones. This is especially important around periocular areas.” Without a comprehensive anatomical understanding, a physician injecting dermal fillers, for example, might inject into a vessel, causing a catastrophic event, like blindness.

Blindness might also result from Kenalog or steroid injections. The problem is there are vessels that have no valves, and fillers can cause clots in a retinal artery, he says. Skin necrosis also occurs when injectors don’t fully understand facial anatomy, according to Dr.

• Manolakakis.
• And bad outcomes — they’re yet another result of not knowing the facial anatomy.
• Botulinum toxin, for example, works by blocking the neurotransmitter from the nerve and nerve-ending fiber that goes into the muscle.
• So, providers injecting into the forehead or glabella need to know the muscle anatomy, the functions of the muscles, as well as the effects to surrounding muscles.

But that’s not all. They also have to know the opposing muscles and what they’re going to do in reaction to weakening one of others, according to Dr. Manolakakis. Having the needed education is more important than ever for injectors. Traditionally, filler injections were done in the nasolabial folds.

But, now, because of new filler types and a better understanding of what’s youthful and more beautiful, injections to other areas of the face are common, including the cheeks, temples, periorbital areas, eyebrows, lips and jawline. “The concept of injections, especially with the dermal fillers, has evolved,” Dr.

Manolakakis says. “It has changed from filling in a line to creating proper proportions, different curves and different volumization, and beautifying the entire face,” Dr. Manolakakis says. Dr. Manolakakis offers these pearls for The Aesthetic Channel’s facial injection anatomy at-a-glance. MUST-KNOW: Procerus muscle, corrugator muscle, depressor supercilii muscle; supraorbital and supratrochlear nerves; and arteries and veins. FILLER INJECTABLE OF CHOICE : Volbella (Allergan), for superficial etched lines. WHERE TO INJECT AND WHY: “If you’re injecting the glabellar and periorbital area, or the crow’s feet, those muscles will depress or bring down the eyebrows.

1. So, if you want to get a lift, it’s a good idea to inject those muscles.
2. Then, if you don’t inject the opposing forehead muscle, you’ll see a net effect of a lifting of the eyebrow.
3. That’s because the opposing muscles, the forehead or frontalis muscles, will raise the brow,” Dr.
4. Manolakakis says.
5. WHAT CAN GO WRONG ANATOMY-WISE: “Typically, if you’re injecting a neurotoxin into a blood vessel, the neurotoxin just will not work, and you will most likely get a bruise,” he says.

“If you inject filler into one of the vessels, you can potentially get skin necrosis or even blindness, as these vessels connect with the central retinal and ophthalmic retinal arteries and veins.” MUST-KNOW: orbicularis oculi INJECTABLE OF CHOICE : Any neuromodulator for dynamic rhytids. For dermal fillers, Vollure or Volbella (Allergan). WHERE TO INJECT AND WHY: Inject under the muscle. WHAT CAN GO WRONG ANATOMY-WISE: “The angular artery is of importance when injecting under the eye,” Dr. MUST-KNOW: The provider needs to be able to identify the bony landmarks of the zygomatic arch, zygoma and infraorbital rim. INJECTABLE OF CHOICE : “Voluma (Allergan) is my choice of injectable because it has the best ability to lift. The Vycross technology allows the product to inter-collate between the tissues.” WHERE TO INJECT AND WHY: “The infraorbital neurovascular bundle is important.

Palpate the foramen,” he says. “The transverse facial artery and vein are above the muscle, so you want to inject below the muscles and above the periosteum.” WHAT CAN GO WRONG ANATOMY-WISE: Bruising, asymmetry; again, possible ischemia and or blindness is a potential if injection is not under muscle, Dr.

Manolakakis says. MUST-KNOW: “The folds are very interesting area of the face,” he says. “Outside the folds, we have skin, subcutaneous tissue, SMAS, muscle, periosteum, bone. On the inside of the fold, we have skin, SMAS, muscle, and it is very tightly bound.” INJECTABLE OF CHOICE : “The injectable of choice, for me, is either Juvéderm Ultra Plus or Vollure, depending on how much fill I need.

If less fill, then Vollure; if I need more, then Juvéderm Ultra Plus,” he says. WHERE TO INJECT AND WHY: Injection is with cannula and it’s at the deep dermis. WHAT CAN GO WRONG ANATOMY-WISE: “The facial artery and vein runs fairly close and turns into the angular artery and vein. Again, skin necrosis and blindness are of concern in this area,” Dr.

Manolakakis says. MUST-KNOW: orbicularis oris INJECTABLE OF CHOICE: “I use a combination of Vollure and Volbella. For more robust lips, I use Juvéderm Ultra Plus,” he says. WHERE TO INJECT AND WHY: “Inject into the submucosal, near the wet-dry line for volume and, for definition, closer to vermillion,” Dr.
View complete answer

What are the 3 major aesthetic theories?

These three aesthetic theories are most commonly referred to as Imitationalism, Formalism, and Emotionalism.
View complete answer

What is the difference between aesthetics and esthetics?

Differences Between Esthetic and Aesthetic –

1. Differences Between Beauty Esthetic and Medical Aesthetic
   1. Esthetic and Aesthetic are the DIFFERENT in an extra ‘A’ at the beginning. This is similar to the word color and colour. Esthetic is used in American-English language while aesthetics is used in British-English language.
   2. Esthetic and Aesthetic are the DIFFERENT in skincare career work environment context. Esthetician and aesthetician (same licensed skincare specialists) are both licensed after study the same 750 hours at licensed school such as Louisville Beauty Academy, he/she can determine the career focus where he/she want to work at:
      1. Salon Context (skincare and beauty salon )
         1. This licensed skincare specialist is BRANDED as Esthetician
         2. He/she can take continuing education or training in salon focus skill/specialty for salon/beauty care
      2. Medical context (doctor office)
         1. This licensed skincare specialist is BRANDED as Aesthetician or medical aesthetician
         2. He/she can take continuing education or training in medical focus skill/specialty for medical/health care

Louisville Beauty Academy – Aesthetic, esthetic, licensed esthetician program – Kentucky Most Affordable aesthetic school According to study.com Beauty esthetician, traditional esthetician and licensed skincare specialist have the following job description :

• State license estheticians such as KY State Board of Cosmetology and Hairdressers license esthetician
• Conduct skin analysis for health problems and temporarily remove hair.
• Clean skin through skin massage, aromatherapy, facials, and skin exfoliation
• Focus in cosmetic such as makeup, skincare product recommendation based on skin type
• Business tends to be in salons, resorts, fitness clubs and spas environment

Aesthetician, medical aesthetician and licensed skincare specialist in the medical context have the following job description:

• State license estheticians such as KY State Board of Cosmetology and Hairdressers license esthetician
• Known as clinical or paramedical aestheticians who are often taking additional continue education with a clinical focus.
• Conduct skin analysis with medical conditions such as burn victims, cancer patients, and health-related skin issues.
• Cleanse and moisturize their skin and also do some cosmetic work like a beauty esthetician

View complete answer

What are the 4 theories of aesthetics?

4 Theories for Judging Art – Your response to your art stems from what you believe art is and what its overall purpose is. There are 4 main theories for judging whether a piece of art is successful: Imitationalism, Formalism, Instrumentalism, and Emotionalism.

Chances are, you already believe in one of these theories, even if you’ve never heard of them. Realizing which theory resonates most with you can help you make crucial decisions in your artmaking. Or perhaps you’ll find that you thought you believed one theory, but you actually believe another! I purposefully did not include example artworks below, because I don’t want to influence which theory you are drawn to based on the pieces I chose.

Try to really see which theory fits best with your true core beliefs! Ok, let’s take a look at the four theories.
View complete answer

Why should estheticians study advanced topics and treatments?

Estheticians should study and have a thorough understanding of advanced topics and treatments so they can better serve their clients while increasing their service revenues and menus.
View complete answer

Who started esthetics?

From Wikipedia, the free encyclopedia

Christine Valmy
Born	Cristina Xantopol October 25, 1926 Bucharest, Romania
Died	January 18, 2015 (aged 88) Bucharest, Romania
Nationality	Romanian
Occupation(s)	Entrepreneur, consultant, esthetician
Known for	Skin care, esthetics

Christine Valmy (October 25, 1926 – January 18, 2015) was a Romanian-American esthetician, consultant, and entrepreneur known as a pioneer in the fields of skin care and esthetics in the United States. Valmy founded the first esthetician school in the United States in 1966, and is widely credited as one of the most influential figures in modern aesthetics.
View complete answer

Who invented esthetician?

National Esthetician Day: History of Esthetics In honor of National Esthetician Day this Friday, we’re diving into the history of our industry! Did you know the Institute of Cosmetology, Esthetics & Massage has a deep rooted connection to the history of esthetics? Before our school became IC&M, later to become ICE&M, we were a Christine Valmy International School.

You can read more about our founding, Christine Valmy was a Romanian immigrant that helped build the professional skin care industry that we know today. While living in her hometown of Bucharest, Romania, Valmy took courses at the university’s medical school in dermatology and cosmetology. In 1948, she opened a salon and offered facial treatments using botanical remedies of her own creation.

Valmy moved to New York in 1961 and began working as an esthetician. She noticed that Americans were more focused on hairdressing and makeup than skin and most women did not know how to take care of their skin. In 1965 Valmy decided to take her knowledge of skin care and pass it onto others and open the first esthetics school in the United States.

• During her career, she created her own line of skin care products, founded the trade group, the American Association of Estheticians and set up an American chapter of CIDESCO, Comité International d’Esthétique et de Cosmétologie.
• In the late 1970s, ICE&M founder, Kathy Driscoll, brought the first esthetics salon to Houston with the help of Valmy.

Driscoll took a similar path to Valmy and realized that there was a need for quality trained estheticians and decided to open a school. These women were pioneers for esthetics education and are responsible for the large network of estheticians that cross the country today.
View complete answer

Who made the first aesthetic?

Introduction – The first use of the term aesthetics in something like its modern sense is commonly attributed to Alexander Baumgarten in 1735, although earlier studies in the 18th century by writers such as the third Earl of Shaftesbury (Anthony Ashley Cooper), Joseph Addison, Jean-Baptiste Du Bos, and Francis Hutcheson mark the first systematic inquiries into aesthetics in its familiar sense as a distinct branch of philosophy.

• Undoubtedly the 18th century saw the flourishing of inquiries into beauty, taste, the sublime, and genius, but few would be content to start a history of aesthetics in that century.
• For many centuries earlier, going back to ancient Greece, there had been philosophical reflection, even if only in a piecemeal fashion, on poetry, painting, music, and the beautiful, and these reflections had an enormous influence on later philosophizing.

What is noticeable, though, is that prior to the 18th century it is not always clear where the boundary lies between aesthetics, as such, conceived as a distinctively philosophical inquiry into judgments of taste and the foundations of the arts and more general theorizing about art, including, for example, treatises on the arts often aimed at practitioners themselves.
View complete answer

When was aesthetic invented?

aesthetics Aesthetics is the branch of philosophy that deals with art, or more generally what the Oxford English Dictionary calls that of “taste, or of the perception of the beautiful” (see beautiful/sublime ). The discipline in its modern form is primarily concerned with issues surrounding the creation, interpretation, and ultimate appreciation of works of art, and so it involves how the experience of such material is mediated through the individual sensitivity of the beholder, and the way the experience of it is shaped through presentation by cultural conventions such as the museum exhibition.

• The term itself is derived from the ancient Greek aisthesis, meaning sensation or perception (see senses ), in contrast to intellectual concepts or rational knowledge.
• Prior to the mid-eighteenth century, aesthetic inquiry was quite different from what it is today since there was no substantial concept of art as detached from trades or civic function.

In Plato’s time, questions concerned with the perception of beauty placed value with what promoted proper ethics and practically improved one’s way of life. The Middle Ages saw opinions based on a variety of notions from theology (Aquinas) to optics (Witelo).

There was a revival and focusing of such ideas and inquiry during the Renaissance, but they were most commonly focused on a particular genre (such as painting, sculpture, etc.), and not yet theorizing generally about the arts and their context. In 1735, a German philosopher, Alexander Baumgarten, was the first to use the word “aesthetics”, in a work which defined beauty as perfection and stressed such information as gathered through the senses.

However, it was Immanuel Kant’s Critique of Judgment of 1790 that solidified the modern usage of the term, in which beauty became a subjective relation, not a property. As it concerns relatively recent media theory, Walter Benjamin and Marshall McLuhan discussed how the nature of such sense perception changes according to social circumstance.

For instance, new kinds of media such as easily reproducible photography alter the function of works of art, as well as the way in which people view the world. The new method of thinking about art based on Kant and the Romantics arose primarily in France, Germany, and Great Britain, due in part to philosophy’s increased interest in sensory knowledge.

Also, there was a new trend in cultural criticism that involved a wider scope, wherein different arts were compared to one another, and it was even argued whether or not one should compare them. Such developments were helped along by the fact that the eighteenth century was also a time when the public was given greater access to works of art, since they were no longer so exclusively linked to the government and the church.

So it was a fruitful coincidence of the simultaneous changes in philosophy and art criticism that gave rise to this dual-role discipline in which art could be reasoned about broadly. Actually, the first century of the existence of aesthetics was marked by the disagreement over whether or not such generalizing was an advancement or not.

There exists a prevailing negative attitude towards aesthetics, even among those who work in related fields such as art history. Some do not acknowledge that it extends beyond the sphere of philosophy and into their own. Students of art sometimes have only a vague notion of what it is, based on the common use of “aesthetic” to mean “pleasing” or “beautiful”, and the sense that it is archaic.

1. Artists themselves do not usually appreciate what they see as categorization.
2. It is possible that these groups are all under the misconception that aesthetics has not evolved since its beginnings, and that its basic goal is to promote the idea that there are certain universal truths about some supposed fixed characteristics of art.

Such an idea is not compatible with the expanded definitions of art in the modern age. The truth, however, is that aestheticians are also against such rigid modes of thought, and have been involved in creating alternatives to such views ever since the inception of the discipline.

According to the Grove Dictionary of Art, there are four major subjects that are continually addressed by aesthetics. Often thought to be central is the question of what art is, how it can be defined. Some common opinions are that this depends on the effect it has on its audience, its place in society, how it was created, or whether or not it exhibits emotion (Tolstoy) or imitation (Plato and Aristotle).

The borders between art and non-art are famously difficult ones to create, especially considering the wide variety of uses for the term, and the fact that our meanings for the term have altered so much in recent times. There are many inquiries however, which can be pursued without such a strict classification.

• Another large, classic area of discourse consists of whether aesthetic judgments can be thought of as objective or subjective.
• One view on this is that it is a matter of personal taste, determined by each individual’s ideas or feelings.
• David Hume was a proponent of this idea, yet he stressed the need for experience with the type of thing being judged in order to make an informed decision.

Others argue that this subjective model describes only the viewer’s response, not the work itself, and that one can speak of facts about a work of art, as if there were a “science” of criticism. Next, the work of art critics such as Clement Greenberg or Michael Fried is concerned with the value of art- from individual pieces to the entire establishment.

1. This involves whether a work is “good” or not, which examples are better or worse than others, and whether or not it is even possible to make such judgments.
2. Morality and other types of value come into play here as well.
3. Finally, issues arise around the importance of how works of art come into being, the extent to which what is not directly perceptible has relevance for the way we experience it.

One theory is that art is basically communication from the artist, and the importance lies in what he or she meant by it; another focuses on what the work itself means, as based on an awareness of the conventions within which it was created. For example, Monroe Beardsley places worth solely with the detectable properties of a work itself, while Nietzsche and Croce emphasized the creative act, possibly independent of an audience, rather than the product.
View complete answer