lashmatrix.org

Close-Set Eyes · Squirrel / Fox · Classic 1:1

A real a close-set eye, the shape this map is drawn for.
The lid itself reads almond — that part is not what makes this shape. What defines it is the distance between the two eyes, which no single-eye photograph can show. The diagram below does. Photo source & removal
Close-set is a gap, not a lid shape the gap one eye width the gap is narrower than one eye length goes outward lashmatrix.org
Eye spacing measured against one eye width — the thing that makes this shape.
PEAK inner outer peak high, then eases to the tail lashmatrix.org
Where the peak sits and which way the length tapers.
Why Why it is laid out this way

Squirrel puts an arch on the lid rather than a flare at the corner, and on this spacing the arch is set out over the outer iris. That buys two things at once: the lift of a raised high point, and a centre of interest well clear of the nose. It is the gentler of the two corrective maps for this shape — a cat pulls harder, this one looks less like a decision.

Zone order · bar = relative length Z1 Z2 Z3 Z4 Z5 PEAK Z6 Z7 inner outer
Build order, inner to outer — the peak zone flagged.

The order the zones go in

  1. Short but not flat inboardThe inner corner is still the shortest work on the lid, though this map begins climbing a zone earlier than the others.
  2. Rise steadily to the archEven steps up through mid-lid, so the arch arrives as a curve rather than as a step.
  3. Arch over the outer irisThe high point sits over the outer edge of the iris: far enough out to separate, far enough in to still read as lift.
  4. Come down gentlyEase the length back after the arch. A quick drop re-centres the weight and cancels the separation.
  5. Finish with a real cornerThe last zone stays clearly longer than the inner corner. A tail cut short closes the eye back up.
Length curve · one peak, gentle taper inner outer
The length curve: one soft peak, then a gentle taper.

The length curve

The arch does two jobs at once. Raised, it opens the eye upward, which is the ordinary squirrel payoff; placed outboard of centre, it also carries the tallest point of the line away from the bridge. The fall after it is slow on purpose, because a fast drop puts the visual weight back over the middle of the eye and the second job is lost.

Built wrong, it looks like this

Arch placed over the pupilA textbook squirrel that lifts nicely and separates nothing. The tallest point lands mid-eye and the spacing is exactly where it started.
✗ WRONG arch over the pupil ✓ RIGHT arch over outer iris
Steep fall straight after the archThe outer third empties out, so the eye reads the middle of the lid as the heaviest part and the pair gathers again.
✗ WRONG steep fall re-centres ✓ RIGHT gentle fall holds it
Inner corner started too tallThis map climbs a zone earlier than most, which tempts you to start high. Length at the nose end is length aimed at the nose.
✗ WRONG starts too tall inboard ✓ RIGHT starts short, climbs
When not to use this mapSkip the arch when a lid fold eats it — a raised high point hiding under a hood is height spent for nothing, and that client needs the arch mapped against her fold rather than against her iris. Skip it too on a very short lash line, where the climb has no room to be gradual and the arch turns into a spike.
Deep The physics underneath

One strand per lash, and one row of them carrying the whole effect. What follows is what that row can hold and how the line ages around it.

The same map, built four ways

Classic 1:1
The arch is drawn with length alone here, and single strands draw it more sharply than fans do. The effect lives inside about a zone and a half of lid, so precision at that row outweighs everything else on the set.
Handmade volume
Fans would make the arch tall and full without a thick strand, which is what the volume build of this map is for. In a classic set the same height has to be paid for in mass on one lash.
Promade / pre-made fans
Quick and even, and evenness flatters a smooth arch. What goes is the ability to adjust a single lash at the top of the curve — in this cell, the lash the client will look at.
Woven / clover
A repeating unit across the top of an arch makes the curve look notched. Almost anywhere else on this line it would pass unnoticed; here it will not.

Spread angle versus weight

Spread moves mass — never removes it narrowload on the axis widetwists off-axis

Classic gives you no spread to manage, so the arch's shape comes entirely from length steps and from every strand at the top pointing the same way. Two lashes leaning differently at the high point read as a broken arch even when their lengths are exactly right, and that is the classic-specific failure on this map.

What the natural lash can carry

  • The arch sits over reasonably deep lashes, so it is not the most stressed peak in the library. It is still the tallest point on the set, and the first place a length misjudgement shows up as a strand sitting low.
  • The gentle fall after the arch is doing mechanical work as well as visual work: it keeps real length off the shallow outer zones, so the corner is carrying less than it appears to be.
  • Each zone is held up by its weakest strands. On the arch row, one fine lash under a long extension drops out of the curve and leaves a dent you can see from across a room.

Where this map fails first

Where this map fails first inner outer arch tips lose height corner shortens back lashmatrix.org

The arch is the tallest thing on the set and it is what she came in for, so its failure is the visible one — a few strands settling and the curve losing its top. The corner fails more slowly and much more quietly, and that is the one that matters for spacing: as the tail thins, the fall after the arch steepens by itself and the map drifts back toward centre. Both are answered the same way, by filling the outer half before the inner half asks for it.

FAQ Common questions

What is the difference between a squirrel and a cat map here?

Where the high point sits. A cat climbs all the way to the corner; a squirrel arches over the outer iris and eases back down, correcting the spacing more softly for a client who does not want an obvious lift.

How steep should the drop after the arch be?

Gentle enough that you cannot see where it starts. A steep fall puts the visual weight back over the middle of the eye and hands back the separation the arch just bought.

Where exactly does the arch go on close-set eyes?

Over the outer edge of the iris rather than over the pupil. That is as far out as an arch travels while still reading as lift instead of turning into a flare.

Is classic strong enough to hold an arch?

It holds the shape well, because single strands draw a crisper curve than fans. The limit is height — the arch can only be as tall as one strand on one lash will stay upright.

Also in: Close-Set eyes · Squirrel / Fox · Classic 1:1