Hooded; this specific characteristic (a brow bone fold covering the crease in the open-eye position) is exactly how this lesson defines a hooded eye shape.

Monolid; the absence of a visible crease, even when the eye is open, is specifically how this lesson defines a monolid eye shape.

Downturned; this specific angling pattern (outer corner lower than inner corner) is exactly how this lesson defines a downturned eye shape.

Because a hooded eye’s brow bone fold covers most or all of the natural crease when the eye is open, eyeshadow placed in that same crease location (as would work well and be visible on an almond eye) would likely be mostly or entirely hidden from view once the eye opens normally, meaning the same placement technique that works for an almond eye doesn’t translate directly to a hooded eye without some kind of specific adjustment.

Deep-set; this specific characteristic (eyes sitting further back, appearing more naturally shadowed) is exactly how this lesson defines deep-set eyes.

Protruding eyes sit further forward in the socket, with more of the eyeball visible and less natural shadow, while deep-set eyes sit further back, appearing more naturally shadowed with less eyeball prominence forward; these represent essentially opposite positions along the same forward-backward dimension of how the eye sits within the socket.

Almond; this description of relative balance and symmetry, without the more pronounced or distinctive characteristics of the other named shapes, matches how this lesson describes an almond eye shape.

This lesson explicitly states that “the ideal angle for a winged eyeliner… depend[s] on the specific eye shape [it’s] being applied to,” meaning the same angle that might flatter or work well with one eye shape (like an upturned eye, where the wing could follow and extend that natural upward angle) likely wouldn’t be equally appropriate for a different eye shape (like a downturned eye, which this lesson’s later content, covered in the eyeliner lesson, would address differently) – the underlying eye structure genuinely differs between shapes, meaning a single universal angle can’t optimally suit every eye shape’s different underlying structure.

Since monolid eyes have little to no visible crease (unlike the well-defined crease of an almond eye), the standard approach relying on a visible crease as a blending guide or placement reference point simply doesn’t apply the same way; a fundamentally different strategy is needed specifically because the underlying eye structure lacks the defining feature (a visible crease) that the almond-eye technique was designed around, which is precisely why this lesson emphasizes that eye shape identification must come before deciding on a specific technique approach.

Because many hooded eyes do have an actual physical crease structurally present in the eyelid, it’s just that the brow bone fold covers or obscures this crease specifically when the eye is open (the position the eye is normally in when the makeup will actually be seen); this specific phrasing acknowledges that the relevant consideration is what’s visible in the eye’s normal, functional open position, since a crease that’s only visible when the eye is closed provides much less practical value for placement decisions than one visible in the eye’s typical open state.

Similar to the face shape lesson’s emphasis on careful, close comparison of specific features, eye shape characteristics like hooding, crease visibility, or subtle upturned/downturned angling may not be clearly or accurately assessable from a general impression at a distance; close, direct examination allows the makeup artist to more accurately identify these specific structural details that this lesson establishes as directly relevant to appropriate technique decisions, rather than risking an inaccurate assessment based on a quick, distant, general impression.

Just as face shape analysis was established as the diagnostic foundation for later contouring and highlighting decisions, this lesson positions eye shape analysis as the diagnostic foundation for the following two lessons on eyeshadow application and eyeliner technique – accurately identifying whether an eye is hooded, monolid, almond, upturned, downturned, deep-set, or protruding is what allows a makeup artist to then select and adapt the specific eyeshadow placement or eyeliner angle appropriate to that particular eye’s actual structure, rather than applying one generic technique that may work well for some eye shapes but produce a disappointing or poorly-suited result for others.