THE MAKEUP ARTIST HANDBOOK This Page Intentionally Left Blank the MAKEUP ARTIST HANDBOOK: Techniques for Film, Television, Photography, and Theatre

THE MAKEUP ARTIST HANDBOOK This page intentionally left blank THE MAKEUP ARTIST HANDBOOK: Techniques for Film, Television, Photography, and Theatre

Gretchen Davis and Mindy Hall

AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Acquisitions Editor: Elinor Actipis Developmental Editor: Michele Cronin Publishing Services Manager: George Morrison Project Manager: Kathryn Liston Editorial Assistant: Robin Weston Marketing Manager: Marcel Koppes Illustrations: Robert Revels (www.robertrevels.com) Drawings for Shapes: Dan Gheno Drawings for Color: Don Jusko Cover Design: Mary Birchler

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Working together to grow libraries in developing countries www.elsevier.com | www.bookaid.org | www.sabre.org CONTENTS

Dedications/Acknowledgments vii

Chapter 1 Shapes 1

Chapter 2 The Body 17

Chapter 3 Color 35

Chapter 4 Lighting 47

Chapter 5 Tech Stuff 59 v

Chapter 6 Foundations 67

Chapter 7 Beauty and Basics 83

Chapter 8 Design 111

Chapter 9 Hair 133

Chapter 10 Airbrush 155

Chapter 11 Effects 179

Chapter 12 How to Be a Pro 217

Cosmetics, Tools, Labs, and Effects 247

The Crew 253

Glossary 257

Professional Library 263

The Pros 265

Unions 273

Index 275 This page intentionally left blank FOR ALL MAKEUP ARTISTS, EVERYWHERE

DEDICATIONS This book is dedicated to my husband John, who has always supported me. To my family, whose artistic abilities never cease to amaze me: Mom, Dad, Son, and Sisters. To my friend and colleague Yvette, who can make me laugh no matter where we are.

And of course who can forget Max?

—Gretchen Davis

vii ACKNOWLEDGMENTS This book could not have happened without “The Pros,” our amazing friends and colleagues who shared their talents and expertise, their time and valuable contributions to this text. They made this happen though crazy schedules, numerous locations, countries, time zones, and ridiculous work hours to contribute. They are true artists who recognize the need to share our craft.

Tremendous thanks to Darla Albright, Gary Archer, Mary Birchler, Fred Blau, Christine Patterson Ceret, Debra Coleman, Richard Dean, Ken Diaz, Daniela Eschbacher, Kris Evans, Kim Felix-Burke, Dan Gheno, Steven Horak, Don Jusko, Erwin H. Kupitz, Bradley M. Look, Gerd Mairandres, Randy Huston Mercer, Gil Mosko, Matthew Mungle, Kenny Meyers, Dina Ousley, Susan Stone, Joseph N. Tawil, Christien Tinsley, Nancy Tozier, Jenny King Turko, Paul Wheeler, and Patty York.

Unending thanks to S. E. Radich for your undying support, tireless hard work, and ﬂ awless organization of this book and its content. You kept it all together, again though several locations, time zones, and countries. Without you, there would be no “input” of text and no coordination of crazy schedules and deadlines! We could not have done it without you.

Thank you Academy of Art University ﬁ lmmaker and innovator David Oliver Pfeil, who ﬁ rst approached Gretchen about starting a Makeup Program for the school. Without his vision of the importance that Makeup has within the Film Department and as an art form, students would not have had the opportunity to experience and witness what a career as a Makeup Artist could be. Along with David, thank you to Dan Burns and Jack Isgro for their support in the success of the Makeup Program. Jack, your input to the publisher made this book happen. Many thanks to Elisa Stephens who encourages instructors to teach students how it really is in the working world. viii FOR ALL MAKEUP ARTISTS, EVERYWHERE Thank you. out you. world, facetoforcountlesshoursdo“thatthingwedo”.Wecouldnotitwith guided usthroughthisjourney,andlastlytoallthoseactorswhohaveallowedintotheir Much loveandgratitutetoourfamilies,friendsmentorswhohavecheereduson —Gretchen Davis&MindyHall FOREWORD

“Most civilians—people who don’t make movies for a living—think makeup men are little more than hovering sprites who powder noses. But they are true artists, often unsung, who imprint ﬁ lm with the soft touch of their brushes and the hard work of their craft.

“The Man Who Aged Me” by Tom Hanks

Article Published in the New York Times, April 27, 2006

ix This page intentionally left blank INTRODUCTION

This journey started for us when the folks at Focal Press noticed that there was a need for an updated makeup book. Writing about what we do, why we do it, and how we do it, seemed necessary, challenging, and a great way to pass on the artistry and craft of being a freelance Makeup Artist. We were in! Ultimately, the decision was easy. Thinking back, there were too many times when we hired or worked with newcomers who were unprepared for the experience. And in our teaching and lecturing to students we would hear the same misconceptions and questions. We have repeated the same lessons to each newcomer over the years, and were recognizing an emerging pattern in the lack of knowledge and understanding from the students. There was a pattern to earlier books on xi the subject of makeup, and although they were beautifully photographed and illustrated they did not address all the skills, knowledge, and protocol that is needed for your ﬁ rst day on the job. These books were providing the very basic steps (sometimes outdated) to do makeup, but they were not preparing the student for being on set or working in a makeup trailer. Some of the best lessons come from practical experience working for and with professionals. Getting a job and being asked back is crucial to the extended learning process (or apprenticeship) that every newcomer needs.

We felt a need to illustrate more than one viewpoint and expose the student to variety. Learning from one standpoint puts the student at a disadvantage. There are countless ways to go about creating and applying makeup so we include examples from different artists to help you to develop your instincts and hand. Intentionally there are sections in the book that do not give step-by-step instructions. This gives you the practical experience of working it out on your own and “thinking on your feet.” It was also clear that students were lacking in the fundamentals of color theory, color mixing, lighting, anatomy, technical information, and HDTV. We use this knowledge every time we apply a makeup, and found most beginners did not realize the importance of understanding all the elements that affect their work, as well as understanding the working environment.

Lastly, be assured that all product reference, noted Industry Standards, and techniques in the book are real examples of a Makeup Artist’s kit and what techniques are used in the ﬁ eld. These lists are a culmination of our more than 25 years of experience, our interviews with Makeup Artists in all mediums, and, without bias or favoritism, we share them with you because of our proven success in using them. We were not paid promotional or endorsement fees by any company or individual. This is an international community; sharing product information and techniques are all part of the lessons learned and communicated with each other through our travels.

Shapes 1

© MARY BIRCHLER DESIGNS SHAPES 2 as toappearinmotion. role forrealismandhowabodyisdrawnso and body.Proportionsplayanimportant elements fallontothesurfaceofface light, andshadows,aswellhowthese drawing skillsthatteachyouvalue,form, (Fehér, 7).Therearecertainfundamental proportions andthemovementofbody” muscular systemofacreaturedetermineits representation. Theskeleton,jointsand the studyofstructureisessentialforartistic applied sciencewhichunderpinsfi size, shapes,andfunctions.“Anatomyisan example, individualskeletalormuscular anatomy drawingwillteachyou,for use makeupasanartform.Thestudyof will giveyoutheabilitytounderstandand makeup designs.Paintinganddrawingskills features ofthefaceandbodyfor and manipulationofdifferentshapes Makeup Artistsaremastersattheillusion anatomical structureofthefaceandbody. determine proportions,shapes,and all areasofmakeupishowtocorrectly An importantlessonforMakeupArtistsin BODY INART PROPORTIONS OFTHEFACEAND changes. These rangefromthebrightest composed ofmillionstonal “value” sphere orcomplexlikethe human fi Values: Eachobject,whethersimple likea you learntheterminologyof thesubject. ability toseevaluechangesonthemodelif to drawinatonalmanner,ithelpsyour values isacomplicatedsubject.Whentrying article inDrawingmagazine.Thestudyof Includes informationpresentedinarecent by DanGheno VALUE, SHADOW,ANDLIGHT ne art, ne gure, is gure, FIGURE 1-1:THE WATCHER, WOMAN the sideofforeheadmostdirectlyfacing the halftoneshapesaredistinctlylighteron the Watcherpicture(Figure1.1)that creating washed-outdrawings.Noticein making theirhalftonesequallybright, looking drawings,whileothersinsiston halftones equallydark,creatingmuddy- separate. Someartistsmakealloftheir go wrongifthesetwotypesaren’tkept halftones” and“darkhalftones.”Thingscan into twodifferentcategories:“light simple, artistsshouldclasstheirhalftones Dark andLightHalftones:Tokeepthings the formfallsintocompleteshadow. the lightsource,andaredarkestjustbefore where theformturnsmostdirectlytoward of themodel.Thehalftonesarebrightest of thevaluevariationswithinlightside Halftones: Agenerictermthatreferstoall light source). (where theobjectisturnedawayfrom faces thelight)todarkestdark bright (wheretheobjectmostdirectly the light source, while they arc dramatically very little refl ected light. Even when drawn darker near the shadow shapes on the subtly or in a barely visible manner, the core forehead. Try squinting to test the validity shadow creates a cornering effect that helps of the value renditions. When you squint, to magnify the plane changes of the model. the light halftones should fade away and disappear into the overall light shape, while the dark halftones should visually melt into PRO TIP the adjacent, general shadow shapes. Makeup Artists are often asked to match Shadow: As the form of the model turns a likeness from a real person to an actor, completely away from the light source, the or from one actor to another actor (photo dark halftone shapes get darker and darker, double), or from actor to stunt person. until the light completely terminates and the These are some examples of many differ- big shadow shape begins. Literally called the ent situations for a Makeup Artist where 3 “terminator” by those who deal with light as shadow shapes and their placement on a science, this shadow edge can look abrupt the face is important. and contrasty at times, or soft and fused at other times. It all depends upon the amount of refl ected light bouncing into the shadow Movement of the Head: To determine the side of the model. correct proportions of facial features when the head has moved in different angles, use Refl ected Light: Shadows are simply the the vertical and horizontal axes. The absence of light. The only reason anything centerline is the vertical axis. This line can be seen within the shadow shape is determines the movements determires made because of refl ected light. The light source by the face from side to side. The horizontal illuminates not just the model, but also the axis defi nes the brow line. surrounding environment. The light bounces off the walls, fl oor, and ceiling, ricocheting into the shadows, and lighting (or fi lling) the dark side of the model. Indeed, even various body parts refl ect light onto the other shadowed parts of the model. One very important rule to know: no refl ected light in the shadow shape can be as bright as the direct light hitting the model.

Core Shadow: When the dark side of the face turns away from any source of reﬂ ected light, the shadow gradually darkens until the darkest part of the shadow, called the “core shadow,” is reached. This term refers to an FIGURE 1-2: THE HORIZONTAL AND VERTICAL AXES area of the form that gets no direct light and SHAPES 4 axes becomeellipticalcurves. direction, themainverticalandhorizontal If thehumanheadisturnedinany FIGURE 1-4:PARALLELELLIPTICAL CURVES elliptical curves. parallel horizontallinesbecome If youweretoturninanydirection,the FIGURE 1-3:ELLIPTICALCURVES by DonJusko AND BODY PROPORTIONS FORTHEFACE the nose.Addchincreasebelow Add thelipsathirdofwaydown,below Bottomofthenosetobottom 3. Pupilsarethemiddle. 2. Topoftheskull 1. (3 body. Todrawthehead,startwithanoval The skullisthebasicdivisionofhuman His methodsarestillinusetoday. face, butnotthelengthofwholehead. measurement. Heusedthelengthof was theﬁ rst toadapttheheadforunitsof of thebodythatcouldbeusedasunits,and Artist LeonardodaVincicalculatedtheparts correctly achievetherightproportions. Body andfacemeasurementshelptheartist × 4). Dividethe headintothreeparts: chin 5

FIGURE 1-5: FRONT VIEW OF DIVISION OF THE HEAD

Proﬁ le View: The height of the side head is important trait, as every person’s triangle is one head length. The width equals one head different. length. The top of the ears are in line with A smiling mouth lines up under the pupils. the eyebrows. The ear hole is in line with The two irises usually equal the maximum the bottom of the nose and the occipital smiling width of the mouth. The space bone (the hindmost bone of the skull, between the eyes is an average of 21/ which forms the back of the skull above the 2 inches. One eye width equals the space nap). The bottom of the earlobe always between the eyes. varies with each individual.

The face triangle is from the center of each pupil, through the nostrils, to the point between the top front teeth. This is an

FIGURE 1-7: ILLUSTRATION OF THE PUPILS WITH THE CORRECT SPACE BETWEEN THE EYES

The Body: A perfect body is eight heads high. The neck is a quarter of one head length, starting under the chin with the top of the head. The second head starts at the FIGURE 1-6: THE FACE TRIANGLE neck mark. SHAPES 6 The chin-to-shoulderlineisahalfofone extends downtothespacebetweenlegs. the toplineoftorsotrianglethat two headlengths(notwidths)wide,andis The TorsoTriangle:shoulderlineis muscles. above theclavicleandforneck-support head down.Thisleavesspaceforthechest The shoulder-linemarkisaquarterofone FIGURE 1-8:THETORSOTRIANGLE quarter ofahead.Thewidththewaistat neck space.Thecenterheadoverlapsbya down fromthetop,includingquarter The legspaceisfourandaquarterheads the thirdtrunkhead. between thelegsisonehead,bottomof trunk. Thebellybuttontothespace head length,thetopofthird head length.Thenipplelineequalsone 7

FIGURE 1-9: FULL BODY WITH BEND LINE the belly button is one head length. From the top line of the hip or trunk triangle to the space between the legs is three quarters of one head high, and is two head widths wide. You get the idea!

The center of the body is the bend line, and can also be measured as four heads up from the base.

BODIES IN MOTION In art and anatomy, the center of gravity is the point of the body that dictates where the weight is distributed. An imaginary axis used by artists determines where the weight of the body changes. When sitting, the upper body trunk and head rest on the pelvis. When someone is standing, the body is supported FIGURE 1-10: ARTIST BODY COLOR REDDISH by the feet. In movement, such as walking, the center of gravity is pushed forward by the foot and then supported once again. Walking has several movements. Up-and- down movement of the body takes place SHAPES 8 sculpting, orthroughotherartisticmedia. interpret thesemovementsonpaper,by descends witheachstep.MakeupArtists walks downhill,hisorhercenterofgravity by theshouldersandhips.Whenaperson to another.Twistingmovementsarecaused center ofgravitybeingshiftedfromoneleg with eachstep.Swingingiscausedbythe FIGURE 1-11:DRAWINGBODYIN MOTION the positiveandnegativeshapes. crisscross throughthefi gure. Begintogauge toss inlinesofaction,sweepinganglesthat where thefi gure drawingisheaded,startto other side.Onceyouhaveafeelingfor to toeandfromonesideofthefi gure tothe page, rapidlydrawingthemodelfromhead moving randomlybackandforthacrossthe Begin todrawwithascribble-likegesture, by DanGheno DRAWING THEBODYINMOTION FIGURE 1-12:DRAWINGBODYINMOTION of thegroundplane. the torso,aswellgeneral relationship the negativespacebetween the limbsand are calledtheenvelope.Use themtojudge of thefi gure. Collectively,theoutside angles fi your useofanglestotheinside fi right sideofthetorsocontrastwith hip. Observehowthecomplexanglesof ankle linesupwiththeoutsideofherright how thelineofmodel’srightinner each other.Inthiscase,forinstance,notice forms thatlineupwithorcontrast throughout thefi gure, tryingtofi drawing seemlyrandom,angledlines Angles: Continuetoletyourhandamble, gure. Letthembroadlyenwraptheoutside gure’s simpler,fl atter leftside.Don’tlimit nd the nd Positive and Negative Space: Utilize instance, how many head units does a leg negative and positive space to help you measure? analyze the forms of the fi gure. Look at the so-called empty space, or negative space, The Line of Action: Look for the internal, between the legs, as well as between the left directional movement of the forms that you arm and the head. Also look at the space are drawing. You can set them up with lines between the right arm and the body. Ask of action such as the ones drawn in the yourself: How big or small are these shapes? diagram. Don’t be surprised if your initial Are they long and narrow or short and sketch looks like a stick fi gure. Sculptors broad? Do the same for the positive shapes block in their fi gures in a similar fashion by or body forms. For example, how wide are using what is called an armature—a the model’s calves compared to her ankles? framework of metallic rods that will govern To keep the relative sizes of your positive the thrust of their sculpted clay forms. shapes under control, gauge each body part Whether you are drawing or sculpting, you 9 against some other basic unit of measure- can use these very simple lines of thrust as a ment (see the section “Proportions for the foundation for the outside curves and to Face and Body” by Don Jusko). For orient the overall gesture of the fi gure.

FIGURE 1-13: DRAWING BODY IN MOTION FIGURE 1-14: DRAWING BODY IN MOTION 10 SHAPES . Onthepaper,putamarkwhereyou 1. any look. face willenableyoutocreate anddesign Makeup. Masteringtheproportionsof and bodywillleadyoutotheArtof Understanding theportionsofface magazine (Gheno). adapted fromanarticleinAmericanArtist It waspreparedforstudents,andhasbeen above isapersonalapproachtoillustrations. life asthereareartists.Thebriefoutline start adrawingofthehumanfi In conclusion,thereareasmanywaysto It’simportanttofi 5. nd thegroundplane Whereisthecrescendo,orpeak,of 4. Thehipusuallytipsupwardabovethe 3. Youwillusuallyfi 2. nd themidpointof straight linewithflanges pointedoutward In thewellknownMuller-Lyer Illusion,a one ontopoftheother. balanced backandforthoverthisline, head, neck,chest,hips,andlegsare shifting subformsofthefi neck. Alsoobserveallofthecontrasting, that fallsdownwardfromthepitof which isrepresentedbythisverticalline fi these boundarieswhensketchingthe bottom ofthefi gure. Trytostaywithin want toplacethetop,midpoint,and of thefl oor underthefeet. the curve. curve? Itisalmostneverinthemiddleof opposite directionofthehips. that theshouldersusuallyslantin supporting, weight-bearingleg.Notice standing fi gure atthehipbone. gure. Observethecenterofgravity, gure. The gure. gure from gure application. can beusedinallareasofmakeup create characters,although these techniques strongest examplesofchanging shapesto unique features.Theatreis one ofthe systems ineachindividualhighlightsthose placement oftheskeletalandmuscle about yourmakeup.Inanatomy,the represents whatyouarevisuallysaying where youplaceashadoworhighlight features andcharacteristics.Asindrawing, Everyone hastheirownuniquefacial FIGURE 1-15:THEMULLER-LYERILLUSION what isbeingseen. makeup, youneedtotrickthemindas character orbeautymakeup.Inallareasof compose featuresthatarenecessaryforthe A MakeupArtistwillusethisprincipleto (McNeill, 297) the innercorners,theynarrowthem. them furtherapart.Byapplyingitabove the outerendsofeyes,theydraw For instance,bydaubingshadowabove it. MakeupArtistsexploitthiseffect. it, theotherpullsitcenterandshortens beyond thelineandseemstolengthen turned inward.Theonetugstheattention seems longerthantheonewiththem FACE SHAPES Heart Face: Larger on the forehead and There are fi ve basic face shapes that are smaller at the chin. used the most often. Many people have a combination of face shapes. Face shapes can be used as a guide, but would also determine where to place shadows and highlights according to what makeup look you are creating. (See Chapter 8: Design.) The following are the fi ve basic face shapes for you to identify and understand the differences:

FIGURE 1-18: HEART FACE SHAPE Square Face: Large face, straight hairline, square chin, and the cheekbones are not 11 particularly prominent. Oval Face: Evenly spaced.

FIGURE 1-16: SQUARE FACE SHAPE FIGURE 1-19: OVAL FACE SHAPE

Diamond Face: Smaller in the chin and Round Face: No strong angle, widest at the forehead. cheekbones.

FIGURE 1-17: DIAMOND FACE SHAPE FIGURE 1-20: ROUND FACE SHAPE 12 SHAPES corrective makeup. set eye,andnotbeasconcernedwith You candoalmostanythingwiththeeven- is consideredthe“perfect”oneaesthetically. eye lengthapart.Thisistheshapethat Even-Set, orBalanced,Eyes:Equalsone shapes: Eyes canbebrokendownintosixbasic EYE SHAPES medium colorsintheeyecrease, andnot lighter-color shadowonthe upperlids.Use eye socket.Tobringthemout, placea Deep-Set Eyes:Arerecessedfartherintothe FIGURE 1-22:WIDESETWITHDARKCOLORAPPLIED inside innercorneroftheeye. closer together,placeadarkcoloronthe than thelengthofeye.Tobringeyes Wide-Set Eyes:Arespacedfartherapart FIGURE 1-21:EVEN/BALANCEDEYE FIGURE 1-23:DEEPSETWITHLIGHTCOLORAPPLIED top corner. You canalsoplaceadarkcolor ontheouter eyelid, blendingupattheoutside corners. almond. Placeyoureye-shadow coloronthe if youhavetomaketheeye lookmore the eyelinerthatwillneedtobeadjusted Round Eyes:Canhandlemostcolors.Itis MAKING ITSMALLER FIGURE 1-24:LARGEEYEWITHANEXAMPLEOF eyelid andeyecrease. eye appearsmaller,usedarkcolorsonthe our discussionofexpressions.Tomakethe and/or shock,whichwewillcoverlaterin look smaller.Alargeeyeconveyssurprise Large Eyes:Willinsomecasesneedto this eyeshape. dark colorsinthecrease.Lessismorewith FIGURE 1-27: FULL LIPS MADE SMALLER

FIGURE 1-25: ROUND EYE WITH COLOR

Thin lips can be made larger by applying Small Eyes: Need light-color shadow to lip pencil to just outside the natural lip open them up. Dark colors will only make line. The farther out you place the line, the them smaller. To give the illusion of a larger larger the lip, but take care to check the 13 eye, use a light color on the eyelid, and symmetry of your work. This is an area in medium color in the eye crease. Again, less which, if things are not done properly, the is more. illusion does not work. Choose a lip pencil that corresponds to the lipstick color or slightly darker. Powder the lip pencil before and after the application of lipstick. This will set the “new” lip line, as well as help keep the makeup from bleeding. Lipstick colors in light to medium tones are used to create larger lips, as well as all-red tones.

FIGURE 1-26: SMALL EYE WITH COLOR

LIP SHAPES Full lips are considered the perfect aesthetic. FIGURE 1-28: THIN LIPS MADE LARGER There are situations where you will have to create the illusion of smaller lips. To do this, apply lip liner just inside the natural To create an even lip shape on someone lip line. with a thin upper lip, apply lip pencil on or Choose a liner that is close in tone to the lip just above the top lip line. Then line the tone, or match to the lipstick. Lipstick bottom lip at the lip line. Use powder to colors should be medium to dark. set, then apply lip color. 14 SHAPES lines. symmetry. Againpowdertosetyour“new” natural liplinetocreatebalanceand natural lipline.Linethebottompast lip, dothereverse.Linetoplipat To balanceathinbottomlipwiththetop FIGURE 1-29:TOCORRECTTHINUPPERLIP The fi rst lessonisabasicexercisein edges, andshadowsoraliving sculpture. applications. Learntoseefaces asplanes, the betteryou’lltranslatethat intomakeup The moreoftenyoupracticedrawingskills, DRAWING LESSONS or usealipstain. should powderthelipstosetmakeup, line. However,ifitisakissingsceneyou because youhavenotchangedthenatural lip color.Youdonotneedtopowder, right atthenaturalliplineandfi the lipshape?Inthiscase,applyliner What ifyoudonotneedorwanttochange FIGURE 1-30:TOCORRECTTHINBOTTOMLIP ll in with in ll . Nowlookdownatyourwork.Addany 5. Aftermovingaroundtheedgesof 4. Followtheedgeofformwithyour 3. Whilestaringatthemodel,put 2. Chooseafaceorfi 1. gure. (Usealive torso, arms,andsoon). different partofthebodyeachtime(hand, This lessonshouldberepeatedusinga Lesson One: Contour Drawing . Usingcarbonpaper,transfereach 3. RepeatingthestepsinLessonOne,doa 2. Choose several(threeorfour)photosof 1. Lesson Two:Drawing Contour you neverwanttoerase. and objectsasshapes.Forallthelessons, and Fourwilltrainyourmindtoseefaces Makeup Artistwilluseoften.LessonsThree observation andlettinggo—twoskillsa shadows orhighlightstoyourdrawing. pencil. the insidefeatureswithoutliftingyour object. Drawthecontoursandplanesof object, moveyourpencilinsidethe what youaredrawing. your paperwithoutlookingdownat pencil (withoutliftingthepencil)onto start. paper atthepointwhereyouwantto your pencildownontothedrawing model.) sheet ofpaper,overlayingeach drawing drawing thatyoufi nish ontoaclean contour drawingofeachphoto. faces fromamagazine. on top of the other, creating your own 4. Observe how the cloth looks under the design. light. Where do the shadows fall with 4. When you are done with step 3, each crease? above, fi ll in any shadows, highlights, 5. With a pencil, draw the sheet using or textures around and inside the simple outlines and only shadows, taking drawings. up the whole artist paper. Your design should go off the edges of the paper. At Lesson Th ree: Shadows the end, your material can have a look of This lesson will enable you to see faces and fl uid movement or even resemble a objects in different shapes created by light mountaintop. and dark. REFERENCES 1. Find a photo of an interesting face with Barcsay, Jenö. 2006. “Anatomy for the a lot of contrast. 15 Artist” from The Center of Gravity. New 2. On a clean sheet of paper, re-create York: Sterling Publishing Co. Inc. the face in the photo using only the shapes of the shadows and highlights. Fehér, György. 2006. Cyclopedia Anatomicae. Try not to use any lines. If this is New York: Black Dog and Leventhal diffi cult, you can work on one area of Publishers. the face at a time (nose, eyes, lips, chin, Gheno, Dan. www.dangheno.net (adapted and so on). from Starting a Figure Drawing From Life. American Artist, 17). Lesson Four: Shadows 1. Take a cloth of some sort—for example, Jusko, Don. Human Proportions and a light-colored sheet. Painting. www.realcolorwheel.com.

2. Bunch the sheet up into peaks and McNeil, Daniel. 1998. Constellation of Desire, valleys. The Skin Code. Boston: Little Brown and 3. Set a simple light source over the sheet. Company.

The Body The 2

© MARY BIRCHLER DESIGNS 18 THE BODY lower extremities. appendicular ismadeupof theupperand vertebral column,sternum, and ribs.The appendicular. Theaxialmakes uptheskull, two differentareas:theaxial andthe calcium. Theskeletalsystemisdividedinto white andredbloodcells,store serve asattachmentsformuscles,produce support thebody,protectinternalorgans, primary functionoftheskeletalsystemisto us alldifferentfromeachother.The planes oftheface—characteristicsthatmake facial bonesisdeterminingthehighandlow that fi t together. Oneofthefunctionsfor short, orfl at. Jointsaretwoormorebones as levers.Bonescanbeclassifi ed aslong, for themostpartmovedbymusclesacting different sizesandshapes.Theskeletonis foundation ofthebody,with206bones The skeletalsystemisthephysical Anatomy isthestudyofhumanbody. books. anatomy booksaswellmedicalreference highly recommendowningacollectionof countless booksonthesubject,andwe how toachieverealistictrauma.Thereare vascular systemaddstoourknowledgeof center ofgravity.Understandingthe Artist ashowthebodymovesand organs arejustasimportanttotheMakeup the skeletalsystem,andprotectinternal that helpformfacialexpressions,support appliance willbeexecuted.Themuscles correctly interprethowthemakeupor muscular, andskeletalsystemsto human bodywillstudythevascular, anything thatisdirectlyrelatedtothe Makeup Artistswhoareaskedtocreate Anatomy isimportantfortheMakeupArtist. Frontal: Formstheforehead. crown ofthecranium. Parietal: Forms thebackofheadabovenape. Occipital: THE BONESOFCRANIUM copyright. 2005,ElsevierLTDAll RightsReserved Photographer DarrellPetersonremain inhissole FIGURE 2-1:FACESURFACEANATOMY skeleton system. anatomy ofthefaceandFigure2.3 Figures 2.1and2.2showthesurface skeleton, whichismadeupof14bones. brain andhaseightbones,thefacial two parts:thecranium,whichprotects The skulloftheskeletonisalsodividedinto Two bonesthatformthesidesand The hindmostboneoftheskull. THE MUSCULAR SYSTEM There are over 600 muscles in the muscular system (Figure 2.4). Muscles are divided into three classes: cardiac, striated (skeletal), and nonstriated (smooth). We deal only with the striated or skeleton muscles that are attached to bones and controlled by will.

Ligaments (which hold the bones together) and tendons (which are connectors between the bones and the muscles) help aid muscles to execute movement. Origin is

FIGURE 2-2: SKULL SURFACE ANATOMY where the muscle is attached to bones that 19 Photographer Darrell Peterson remain in his sole do not move. Insertion is a muscle attached copyright 2005, Elsevier LTD All Rights Reserved to a movable bone.

VASCULAR SYSTEM The vascular system (Figure 2.5) is a set of Temporal: Two bones that form the sides of complex veins that transport blood to the head by the ears. and from the heart, transport oxygenated Ethmoid: Between the eye sockets. Forms blood from the lungs to the heart, and drain part of the nasal cavities. blood from the intestines and the supporting organs. The cardiovascular Sphenoid: Joins all the cranium bones system is made of heart and blood vessels, together. arteries, veins, and capillaries called the circulatory system. The pulmonary THE BONES OF THE FACE circulation sends blood on a path from the Nasal: Two bones that form the bridge of heart to the lungs and back again, and the the nose. systemic circulation sends blood from the heart to other parts of the body and back Lacrimal: These two bones make up the eye again. sockets.

Zygomatic (or Malar): The two FACIAL MUSCLES AND EXPRESSION cheekbones. Facial expressions are universal. The six basic facials codes are enjoyment, anger, Maxillae: Two bones that form the upper fear, surprise, disgust, and sadness. Makeup jaw. Artists are often asked to reproduce these Mandible: The lower jaw, the largest and emotions with the use of makeup. The facial strongest facial bone. muscles come into play by forming these 20 THE BODY © 2007Wolters Kluwer Health/LippincottWilliams andWilkins. FIGURE 2-3:THESKELETONSYSTEM Coracoacromial l. Articular capsule Biceps brachiim. Subdeltoid bursa Subscapularis m. Interchondral ll. Key: Abbreviations Center ofgravity intercostal mm. intercostal mm. Acromioclavicular l. Thoracolumbar iaet—l Cervical—C Ligaments—ll. Sacrotuberal l. abdominal m. Ligament—l. Sacrospinal l. Iliofemoral l. Interosseous Iliolumbar l. uce—m Lumbar—L Muscles—mm. Coracoclavicular l. membranes ednt Sacral—S Tendon—t. (long head) ucem Thoracic—T Muscle—m. sacroiliac l. collateral l. collateral l. Trapezium Transverse membrane intercostal Annular l. Trapezoid Triquetral Scaphoid Articular Anterior Capitate External External Hamate Internal capsule Lunate Radial Ulnar fascia Superior transverse Vertebrae: scapular l. retinaculum Medial cuneiform collateral l. retinaculum Inguinal l. Patellar l. Infraorbital foramen Supraorbital notch patellar Fibular Medial tibiofibular l. femoris t. Interosseous Quadriceps patellar Articularis Coronal suture Lateral membrane Sacrum genus m. Anterior Mental foramen Zygomatic sternoclavicular l. Sphenoid Temporal Talus Interclavicular l. Maxilla membrane Obturator Anterior Anterior View Superior pubic l. collateral l. Tibial Arcuate pubic l. condyle symphysis Medial epicondyle tibial Medial Pubic Ischium tr Anterior longitudinall. L1 Intervertebral disks ochanter Lesser C7 longitudinal l. Anterior Mandible sinus maxillary 1st rib Outline of Inferior orbitalfissure Superior orbitalfissure Nasal Frontal Outline offrontal sinus Lateral malleolus Transverse axis Medial malleolus Fibula Tibia femoral Medial condyle Patella Manubrium Tibial tuberosity Intercondylar eminence & tibial condyles & tibial Lateral femoral Pubis Head offibula Lateral epicondyle Transverse axis Radius Ilium Ulna S1 Femur Clavicle Metacarpals iliac spine superior Anterior female pelvis Outline of Radial tuberosity Capitulum Trochlea epicondyle Lateral epicondyle Medial 12th rib Costal cartilages Xiphoid process Sternum Humerus Scapula Lesser tubercle Greater tubercle Coracoid process Acromion Carpals Neck offemur trochanter Greater Head offemur Transverse axis iliac spine inferior Anterior Phalanges Key: Muscles of Anterior Torso 1. Subclavius m. 2. External intercostal mm. 3. External intercostal Anterior View membranes 4. Pectoralis minor m. Galea aponeurotica 5. Serratus anterior m. Frontalis m. 6. Pectoralis major m. Temporalis m. 7. Rectus sheath (anterior layer) 8. Rectus abdominis m. Orbicularis oculi m.: 9. External abdominal Orbital part oblique m. Palpebral part Levator labii 10. Internal abdominal superioris m. oblique m. 11. Transversus abdominis m. Procerus m. Zygomaticus minor m. 12. Transversalis fascia Nasalis m. 13. Interfoveolar m. Zygomaticus major m. 14. Pyramidalis m. Zygomaticus 15. Inguinal l. major m. Depressor septi m. 16. Linea alba Levator labii Levator anguli 17. Aponeurosis of external superioris oris m. abdominal oblique m. alaeque nasi m. Masseter m. 18. Superficial fascia Orbicularis oris m. Thyrohyoid m. 19. Intercrural fibers Buccinator m. Sternohyoid m. 20. Superficial inguinal ring Levator scapulae m. 21. Flexor carpi radialis m. Risorius m. 22. Palmaris longus m. Depressor Omohyoid m. (superior belly) 23. Flexor carpi ulnaris m. anguli oris m. Middle scalene m. 24. Flexor digitorum Mentalis m. Sternocleidomastoid m. superficialis m. Depressor labii Trapezius m. inferioris m. Omohyoid m. (inferior belly) Platysma m. 1 Subscapular m. Biceps brachii m.: Deltoid m. 2 Long head 3 Short head Coracobrachialis m. 2 4 Teres major m. Deltoid m. 6 Latissimus dorsi m. Coracobrachialis m. Triceps brachii m.: Latissimus dorsi m. Long head Medial head Triceps brachii m.: Lateral head Long head Medial head Lateral head Biceps brachii m. 5 Brachialis m. Brachialis m. 8 Biceps brachii m. 9 7 Bicipital aponeurosis Brachialis m. Brachioradialis m. (cut) Bicipital aponeurosis Common flexor t.: 21 16 Pronator teres (cut) Supinator m. Flexor carpi radialis (cut) Biceps brachii t. 10 Brachioradialis m. 17 Palmaris longus (cut) Pronator teres m. Supinator m. Extensor carpi Extensor carpi radialis longus m. radialis longus m. 21 18 22 11 Flexor digitorum 23 Flexor pollicis profundus m. longus m. Flexor carpi ulnaris m. 24 Abductor Flexor digitorum pollicis longus m. superficialis m. Pronator quadratus m. 15 Flexor pollicis Gluteus longus m. Flexor 12 medius m. 19 retinaculum Flexor Sartorius m. 14 20 13 retinaculum Tensor fasciae Gluteus latae m. medius m. Tensor Pectineus m. fasciae Adductor mm.: latae m. (cut) Brevis Gluteus Longus minimus m. (cut) Magnus Sartorius m. (cut) Rectus femoris m. (cut) Iliopsoas m. Vastus lateralis m. Pectineus m. Gracilis m. Rectus femoris m. Vastus Vastus intermedius m. medialis m.

Vastus lateralis m.

Rectus femoris m. (cut) Vastus medialis m.

Iliotibial tract (cut)

Gastrocnemius m. Patellar l. Soleus m. Extensor digitorum longus m. Tibialis Peroneus anterior m. longus m.

Peroneus Tibialis brevis m. anterior m. Extensor hallucis longus m. Superior Gastrocnemius m. extensor retinaculum Extensor digitorum longus tt. Soleus m. Flexor Peroneus digitorum Inferior tertius t. longus m. extensor Peroneus retinaculum Flexor brevis t. hallucis longus m. Achilles Extensor tendon hallucis brevis m.

Extensor digitorum brevis m. Key: Abbreviations Ligament—l. Ligaments—ll. Muscle—m. Muscles—mm. Tendon—t. Tendons—tt. Vertebrae: Cervical—C Thoracic—T Lumbar—L

FIGURE 2-4: THE MUSCULAR SYSTEM © 2007 Wolters Kluwer Health/Lippincott Williams and Wilkins. 22 THE BODY 16. Anterior interventriculara. 15. Rightcoronary a. 14. Leftpulmonaryvv. 13. Leftauricle 12. Rightatriumandauricle 10. Leftpulmonarya. © 2007WoltersKluwerHealth/LippincottWilliamsandWilkins. FIGURE 2-5:THEVASCULARSYSTEM Key: CentralFigure 11. Rightlung 2. Rightinternalthoracic 1. Parietalpleura 9. Pulmonarytrunk 8. Ascending aorta 7. Pericardium 6. Superiorvenacava 5. Leftcommoncarotid a. 4. Brachiocephalictrunk 3. Rightbrachiocephalicv. a. & v.& a. 32. Iliacusmuscle 31. Anterior superioriliacspine Common iliacaa.&vv. 30. 29. Ascending lumbarv. 28. Inferiormesenterica. 27. Abdominal aorta 26. 10thrib 25. Testicular aa.&vv. 24. Rightkidney 23. Middleandinferiorsuprarenal aa. 22. Rightsuprarenal gland 21. Superiorsuprarenal aa. 20. Inferiorphrenic aa. 19. Inferiorvenacava 18. Hepaticvv. 17. Diaphragm Posterior Interosseous a. Superficial Superficial palmar metacarpal aa. palmar Scapular circumflex a. Deep palmarbr. Deep palmar Posterior ulnar ar interosseous a. interosseous a. Anterior ulnar digital aa. br. ofradiala. Common Posterior circumflex ch Interosseous Lateral thoracica. Anterior circumflex recurrent a. recurrent a. palmar Thoracodorsal a. Palmar recurrent a. membrane Median n. of ulnara. Deep brachiala. Common recurrent Interosseous Anterior Thoracoacromial a. Radial a. arch collaterala. Superior ulnar Ulnar a. collaterala. Inferior ulnar Radial collateral a. collateral a. Subscapular a. Brachial a. humeral a. humeral a. Axillary a&v. Suprascapular a. Middle Radial Dorsal scapulara. Proper palmar digital aa. Costocervical trunk Thyrocervical trunk Superficial temporala&v. Dorsal digitalaa. Superficial temporala&v.: Middle temporala&v. Descending perforating a. Middle geniculara. circumflex femoral a.: Ascending forating a. femoral a. circumflex forating a. femoral a. perforating a. Sciatic n. Inferior thyroid a. Transverse cervicala. Middle meningeala. Deep plantara. 2nd per- gluteal a. 1st per- Lateral superior Lateral Posterior auriculara. Medial Inferior Lateral inferior Popliteal a. Deep Inferior alveolara&v. Medial plantara. Maxillary a&v. genicular a. genicular a. Lateral plantara. br. br. Lateral tarsala. 3rd Posterior auricularv. Anterior medial Medial tarsala. Anterior lateral Occipital a&v. Sural aa. Internal carotid a. 4th Arcuate a. Retromandibular v. External carotid a. Parietal br. malleolar a. malleolar a. External jugularv. Frontal br. Internal jugularv. Vertebral a. 31 32 11 24 1 33 28 27 26 25 30 29 23 21 20 19 18 35 34 2 22 17 3 12 6 Anterior recurrent 4 Perforating br. of Anterior tibial peroneal a.&v. Dorsalis pedis tibial a.&vv. metatarsal aa. genicular a.: Descending Articular br. saphenous Saphenous Interosseous Adductor genicular 15 genicular 8 7 Femoral superior membrane Posterior a. &vv. inferior Peroneal a. &vv. Medial a. &vv. Medial a. &vv a. &vv. a &v. hiatus a. &vv. Great Dorsal tibial 40 39 38 37 36 br. v. 5 9 . 16 13 59 58 57 60 10 14 Superior laryngeala.&v. Superior thyroid aa.&vv. Internal jugularv. 50 49 47 46 45 44 43 41 48 52 Lingual a.&v. Deep temporalaa. Submental a.&v. Inferior labiala.&v. Facial a.&v. Supraorbital a. Superior labiala.&v. Masseteric a. Dorsal nasala. Infraorbital a. Supratrochlear a. 42 Angular v. Buccal a. Posterior superioralveolara. External jugularv. 51 56 55 54 53 Middle thyroid v. Great saphenousv. Dorsal venousrete Transverse cervicalv. Dorsal venousarch genicular a.&vv. Lateral superior Sural aa.&vv. genicular a.&vv. Lateral inferior saphenous v. Lesser Dorsal metatarsalvv. Popliteal v. a. &v. 3rd perforating a. &v. 2nd perforating Dorsal digitalvv. femoral a.&v. circumflex br. oflateral Descending a. &v. femoral Deep a. &vv perforating 1st palmar br. Superficial palmar 1st rib a. &v.: palmar Ulnar Deep Deep arch . arch Suprascapular v. Dorsal scapularv. Subclavian a.&v. Cephalic v. Lateral thoracica.&v. humerala.&vv. Anterior circumflex a.&vv. Deep brachial Basilic v. humerala.&vv. Posterior circumflex Scapular circumflex a.&v. a. &vv. Radial collateral a. &v. Thoracodorsal Brachial a.&vv. collateral a.&vv. Superior ulnar a. &vv. Middle collateral Basilic v. Cephalic v. a.&vv. Brachial a.&vv. recurrent Radial cubitalv. Median cephalic v. Accessory a. &v. interosseous Anterior a.&vv. Ulnar a. &vv. Radial antebrachial v. Median Radial a&vv.: palmarbr. Superficial Intercapitular vv. Proper palmar digital vv. Key: CentralFigure 47. Ureter 46. Leftrenal a.&v. 45. Superiormesenterica. 44. Celiactrunk 43. Aortic hiatus 42. Spleen 41. Esophagus 40. Spermaticcord 39. Obturatora. 38. Cremasteric a. 37. Urinarybladder 36. Superiorvesiclea. 35. Deepcircumflex iliaca. 34. Internaliliaca.&v. 33. Iliolumbara.&v. (continued) 60. Testicle 59. Pampiniformvenousplexus dorsala.ofpenis 58. Deepdorsalv. and 57. Internalpudendala.&vv. 56. Externalpudendalaa.&vv. iliaca.&v. 55. Superficialcircumflex 54. Inferiorepigastrica. 53. Inguinalligament 52. Externaliliaca.&v. 51. Superiorgluteala.&v. 50. Middlesacrala.&v. 49. 4thlumbara.&v. 48. Quadratuslumborum muscle expressions. Changing or reshaping the Lips can be dry. In terror, nostrils dilate, eyebrow, adding a highlighter or shadow pupils widen, and perspiration appears on in the right place, can give off different the forehead. emotional signals. Surprise (Figure 2.9): Surprise is a lot like Facial muscles are formed in four different fear except that, for the seconds before fear groups: scalp and facial muscles, eye and takes over, the eyes and mouth open eye socket muscles, mouth muscles, and jaw (temporalis muscle working with the muscles. masseter muscle), and the eyebrows arch (frontalis muscle). Surprise in nature began SIX FACIAL CODES as a protective measure. We humans raise Enjoyment (Figure 2.6): A smile employs our eyebrows. two muscles. The zygomatic major curves Disgust (Figure 2.10): The mouth can open the mouth, and the orbicularis oculi raises slightly. The nose can turn up slightly and 23 the cheeks. The cheeks, in turn, press the skin toward the eye, causing a squint. Eyes appear brighter.

Anger (Figure 2.7): The person looks in deep concentration. Eyebrows appear downward, and the lips look pursed (orbicularis oris muscle). When angry, the blood can rush to the face. A ﬂ ushing of redness can occur.

Fear (Figure 2.8): Eyes are wide and eyebrows lifted toward each other. Lips pull FIGURE 2-7: ANGER back (buccinator muscle) and even tremble.

FIGURE 2-6: ENJOYMENT FIGURE 2-8: FEAR 24 THE BODY which protectsusfromdisease and layers. Theouterlayeristhe epidermis, six pounds.Theskinismade upofseveral largest organwehave,weighing inaround The skin(Figure2.12)onour bodiesisthe SKIN McNeill. From mouth godown(triangularismuscle). eyebrows droop,andthecornersof sag. Wrinklesonthemid-forehead, Sadness (Figure2.11):Thefaceseemsto acknowledge somethingfoul. wrinkle (procerusmuscle),asifto FIGURE 2-10:DISGUST FIGURE 2-9:SURPRISE The Face,SkinCodebyDaniel FIGURE 2-11:SADNESS rapid fallingofbloodpressure. unconsciousness, shallowbreathing, and and cold,clammyskin.Stage Threeis Stage Twosymptomsinclude weakpulse include cold,paleskin,and rapidheartbeat. have threestages.StageOnesymptoms failure. Therearethreeformsofshock.All Shock: Atermusedfortissueandorgan Makeup Artist. and diseasesthatinvolveanatomythe touches ononlyafewexamplesofwounds to executearealisticmakeup.Thefollowing decide whatproductsyouwilluseandhow place. Withthatknowledge,youcanthen caused thewoundordiseaseinﬁ but alsothesceneorenvironmentthat medical explanationofwoundsordiseases, for research.Notonlyshouldyouknowthe medical booksofallkindsisavaluabletool important tostudythehumanbody.Having the MakeupArtist.Itbecomesclearwhyitis Wounds anddiseasesalsoplayabigpartfor body heatandstoringenergy. connective tissuesandfat,maintainingour forget thesubcutaneous,whichhas and glands.Beneathallofthat,let’snot which containsbloodvessels,nerveendings, dehydration. Thenextlayeristhedermis, rst Free nerve ending Hair shaft

Pore of eccrine gland Stratum corneum Stratum lucidum Epidermis Stratum granulosum Stratum spinosum Epidermal rete ridge Stratum basale Dermal papillae Melanocyte Krause’s and bulb

Meissner's corpuscle Sebaceous gland

Ruffini corpuscle Arrector pili muscle

Elastic fibers

Dermis 25 Outer root sheath Inner root sheath

Matrix cells

Eccrine gland Hair papilla

Sensory nerve fibers ( myelinated)

Artery Muscle Subcutaneous tissue Vein Vater-Pacini corpuscle Autonomic nerve fiber (unmyelinated) Common Skin Disorders

Disease: Can be caused by a number of stages. Those stages start with exposure to a things: age, gender, infection, smoking, disease and end with remission or full drugs, to name a few. There are times that a recovery. disease has no known cause. When you have a change of metabolism or cell Allergies: Can be caused by airborne irritants. changes, symptoms can occur that, in turn, Symptoms can include sneezing, watery eyes, make a person aware that a disease is itchy throat, headaches, sore red eyes, runny present. Most often a disease goes through nose, and dark circles under the eyes. 26 THE BODY lesions. characterized bysmall,elevated,itchy abdominal pain.Cutaneousanthraxis fever, nausea,decreasedappetite,and diffi with fl u-like symptoms.Breathingcanbe anthrax symptomsarefeverandnausea Anthrax: Abacterialinfection.Inhalation darken withage. uneven, bumpytexture.Mostoftenwill a smoothsurface,butcanbecomean irregular redtopurplepatches.Startsoutas Port-Wine Stain(NevusFlammeus):Flat, how toaddressthefollowingskindisorders: using anairbrush.BradleyLookwillexplain will alsobenefi t fromlessrubbingwhen cause theskin’ssurfacetobedryandfl already sensitiveskin.Skindisordersthat rubbing andblendingthatcanirritate of theskin.Italsoreducesamount you willhavelesscontactwiththesurface many ofthefollowingsituationsbecause the skin.Usinganairbrushworkswellfor for correctingorcamoufl aging thesurfaceof skin disordersandwhatisthebestmethod As aMakeupArtist,you’llneedtorecognize FACIAL SKINDISORDERS Bradley Look:Tocamoufl cult. Intestinalanthraxsymptomsare pigmentation. which hasdoubletheamount of Airbrush GradeProstheticCosmetic 2, the port-winestain,useMichael Davy’s there isstillsomebleeding through of surrounding skinwithfoundation.If covering theaffectedareaand the edgetrailoff.Letthisdrybefore base color.Lightlyhazethearea,letting stains, mixamintgreenadjusterinto age port-wine age aky painful. skin aroundlesionscanbeitchyand of remission.Dry,fl aky scalesorthickened Psoriasis: Anongoingdiseasewithperiods rosacea foracne. cheek area.Peoplemostoftenmistake butterfl with aCelticbackground.Rosaceahas Rosacea: Commonamongpeople protruding. down intotwotypes:indentedor fade toaverypalewhite.Scarsarebroken smooth texture.Overtime,scarsshould Scars: Usuallythickandpinkwitha Bradley Look:Tocamoufl Bradley Look:Tocamoufl Bradley Look:Fortheindentedscar, visible elsewhereonthetalent. same techniqueiftheconditionis makeup mightberequiredusingthe elbows andknees,additionalbody psoriasis isnotablyseenonlyonthe passes ofairbrushproduct.Since lightly covertheareawithseverallight powder toset.Usinganairbrush, grease overtheaffectedarea.Lightly stipple alightlayerofrubbermask Afterward, spray overwithappropriate the scarappearlessindented. shadow, youareattempting tomake By thecreativeuseofhighlights and slightly darkertonethanthe skincolor. around theareaofhighlight,apply around theedgeofscar.Next, (slightly palerthantheskintone) using atattoopalette,applyhighlight outlined forport-winestain. use asimilartechniquetotheone y-like redness overthenoseand age psoriasis, age age rosacea, age foundation color. For a protruding sweats, and weakness. A cough can also be scar, apply tattoo palette colors in the present. exact opposite order as listed above. Tetanus: Bacterial infection caused by open Shadow is applied to the edge of the cuts and wounds having contact with scar and blended outward. Foundation infected soils, dust, and other agents that is then airbrushed over the entire area. cause local infection at the site of the Note: A hypertrophy scar can be toned wound. Unchecked, the infection will enter down using makeup; the 3-D the bloodstream, causing painful, deep- dimension is still quite visible if not muscle spasms. properly lit. Pneumonia: Bacterial infection. Pneumonia Vitiligo: Complete loss of pigment over is the most dangerous to the very young or time. There is often a splotchy look to the the elderly. Coughing, fever, chills, deep skin. In fair skin, you might not notice it as chest pain, wheezing, and fatigue are some 27 much, but it is disfi guring to darker skin of the most common symptoms you would tones. expect to see. Bradley Look: To camoufl age vitiligo, airbrush a medium fl esh tone over the Herpes Zoster: Viral infection. Symptoms area. Next, lightly airbrush the are small, painful red skin lesions that foundation color over the affected area develop along the nerve path. and the rest of the face. HIV (Human Immunodefi ciency Virus): Virus is passed by blood-to-blood contact VIRAL, BACTERIAL, AND and sexual contact. OTHER DISORDERS Conjunctivitis: Bacterial infection of Mumps: Viral disease characterized by the eyes. Symptoms are pain, tearing, swelling and tender parotid gland and and redness with fl uid discharge of the salivary glands. eyes. Leukemia: Blood disorder. No one knows Meningitis: Bacterial infection of the the cause of this disease, although genetics, meninges, which are the delicate environment, or the immune system might membranes that cover the brain and spinal play a part. Symptoms include paleness, cord. Symptoms can include fever, severe high fever, abnormal bleeding, and weight headache, stiff neck and shoulders, a dark loss. As the disease progresses, the red or purplish rash anywhere on the body, symptoms become more severe, including mental confusion, vomiting, and sensitivity infections, organ enlargement, and tender to bright light. bones.

Tuberculosis: Bacterial infection in which Rubella: Viral disease. A rash forms on the bacilli are deposited into the lungs. face, then quickly spreads to the rest of the Symptoms are fatigue, weight loss, night body. 28 THE BODY ENVIRONMENTAL CONDITIONS forms thatturnsintopapules. Chicken Pox:Viraldisease.Asmallrash nose. body. Lesionsforminsidethemouthand on theface,spreadingtotrunkof Smallpox: Viraldisease.Arashforms and circulatorysystems. examples foundintheskeletal, muscular, following termsoutlineonlyafewofthe most likelywilluseasreference.The concentrate ontheareasMakeupArtists Anatomy isacomplexfi eld, butwe’ll ANATOMY TERMS coma. breathing, confusion,seizure,andpossible elevated bodytemperature,diffi Symptoms includeredskin,nosweating, Heatstroke: Elevatedbodytemperature. vomiting, sweating,andheadache. Symptoms includebeingtired,nauseawith of time.Thereisalsoalossfl has beenexposedtoheatforlonglengths Heat Exhaustion:Occurswhensomeone affected area. sometimes alossofextremitiesinthe colors ofpurple,severeblisters,and third stage,you’llobserveredness,deep stage hasblistersthatcanturnblack.Inthe pain withitching,maybeswelling.Second has threedifferentstages.Firststageis mostly nose,fi ngers, andtoes.Frostbite Frostbite: Freezingofbodyparts, culty uids. cheekbone. Zygomatic Arch:Bonethatdefi the baseofcranium. Occipital Bone:Largebonethatmakesup cavities. bones. Thevomerboneseparatesthenasal Nasal Bones:Therearetwonasal Maxillae: Theupperjawbones. Mandible: Thelowerjawbone. Helps defi ne theorbitsofeye. Frontal Bone:Bonelocatedattheforehead. Th turn, formtheface. houses thebrainandfacialbones,which,in form thecranialcavity.Thecavity divided intocranialbones.Thesebones upper andlowerextremities.Theskullis appendicular skeletonismadeupofthe vertebral column,sternum,andribs.The areas. Theaxialismadeupoftheskull, The skeletonisdividedintotwodifferent Th form theshoulderjoint. Scapula: Alongwiththehumerus,helps to Clavicle: Collarbone. Upper Body muscles. serving astheattachmentforribsand movement, supportingthehead,and spinal cordisstrongandfl The bonesprotectthespinalcord. The spinalcolumnismadeupof26bones. Spinal Column e Skull eSkeletal System exible—allowing nes the nes Ribs: Curved bones connected to the Th e Muscular System thoracic vertebrae. Muscles are described by size, shape, origin, and function. There are over 700 known Sternum: Breastbone. muscles in the body. Humerus: Upper arm bone.

Radius: One of two lower arm bones. The Facial Muscles radius is narrow at the end that connects Jaw Muscles with the humerus, and wider at the joints it Masseter: Raises the jaw and clenches the forms with the wrist bones. teeth.

Ulna: One of two lower arm bones opposite Temporalis: Helps the masseter muscle to in shape to the radius. raise the jaw and clench the teeth.

Carpal Bones: Wrist bones. Mouth Muscles 29 Metacarpals: Hand bones. Buccinator: Draws the corners of the mouth backward, ﬂ attens and tightens the lips. Phalanges: Finger bones. Caninus: Raises the corner of the mouth. Lower Body Pelvic Bone: Attaches the lower body to the Mentalis: Raises and tightens the axial skeleton. chin, thrusts the lower lip up and outward. Femur: Thighbone. It is the strongest bone in the body. Orbicularis Oris: Circles the mouth and purses the lips. Patella: Kneecap. Risorius: Pulls the corner of the mouth Tibia: The larger of the two bones that form sideward and outward. the lower leg bone. Triangularis: Pulls the corner of the mouth Fibula: The smaller of the two bones that downward. form the lower leg bone. Zygomaticus Major and Minor: Tarsals: Anklebones. Muscles that raise the mouth upward and Metatarsals: Foot bones. outward.

Phalanges: Toes. Eye Muscles Joints: Where two or more bones come Corrugator: Assists the orbicularis muscles together to either aid movement and/or in compressing skin between the eyebrows. keep the skeleton together. Vertical wrinkles form. 30 THE BODY lower lipdownwardandupward. Platysma: Neckmusclethatdrawsthe pulls theeyebrowsupward. to thefront,wrinklesforehead,and Frontalis (FrontalPart):Drawsthescalp Face Muscle wrinkling theskinonnose. Procerus: Tightenstheinnereyeby above andbelow. compresses theopeningofeyefrom Orbicularis Oculi:Closestheeyelidsand neck, andupperlimbs. Provide bloodtotheleftside ofthehead, Left CarotidandSubclavian Arteries: limbs. Provide bloodtotheneck,head,andupper Artery, andRightSubclavianArtery: Brachiocephalic Trunk,RightCarotid heart. Coronary Arteries:Supplybloodtothe Aorta: Largestarteryinthebody. Arteries heart. and organs.Veinsreturnthebloodto carry bloodfromthehearttotissues and sendsittotherestofbody.Arteries receives oxygenatedbloodfromthelungs systemic system,theleftsideofheart body andpumpsittothelungs.In deoxygenated bloodfromtherestof the rightsideofheartreceives different systems.Inthepulmonarysystem, The circulatorysystemismadeupoftwo System and Circulatory Veins Veins small intestine. circulation throughthisvein bywayofthe Superior Mesenteric:Bloodreturnsto Splenic Vein:Veinleavingthespleen. the intestinalveinstoliver. Hepatic PortalVein:Veinthatleadsfrom supporting organs. blood fromtheintestinesand Portal System:Asetofveinsthatdeplete limbs. from thepelvis,abdomen,andlower Inferior VenaCava:Receivesblood form thesuperiorvenacava. Brachiocephalic: shoulder area. Subclavian: Emptiesbloodfromthe brain. the headandneckarea,including Internal Jugular:Receivesbloodfrom veins. jugular, subclavian,andbrachiocephalic the upperbodybywayofinternal Superior VenaCava:Receivesbloodfrom right commoniliacarteries. The abdominalaortadividesintoleftand Left andRightCommonIliacArteries: to thebackofabdominalwall. Gonadal Arteries:Provideinternalorgans Renal Arteries,Suprarenaland organs. Supply bloodtotheabdominalinternal Artery, andInferiorMesentericArtery: Celiac Trunk,SuperiorMesenteric One oftwoveinsthat ANATOMY LESSONS 2. Make copies of each of the photos. It is hard to constantly memorize and 3. List the correct facial muscle(s) on remember every bone and muscle in the the photo that is/are causing the body, not even counting the vascular expression in the photo (for example: system. But even learning the basics and crying, laughing, being scared, and so having those references to remind you of on). the correct placement of bones and muscles 4. Repeat step 3, above, for each of the is important. The ﬁ rst two lessons are different photos. important because the more often you look at and write down a term, the more you’ll Lesson Four: Body Wounds start to recognize it. This lesson can be done over time to get what you want. Using a camera, take Lesson One: Th e Skeletal System pictures of several different types of 31 1. Find an unlabeled drawing, photo, or wounds. You can also use several chart of the skeletal system. photographs found in magazines or medical 2. Make a copy of the unlabeled skeletal books. system for yourself to write on. 1. Observe up close what the shapes, 3. List the bones correctly on your copy of sizes, colors, and textures are for each the unlabeled chart, checking your wound. answers from the labeled skeletal system 2. Write down where the wound is located chart in Figure 2.3. You need to list only on the body, using the correct medical the basic bone structures: skull, neck, terms to describe the location. (For shoulders, arms, chest, wrist, ﬁ ngers, example: The scratches are located on legs, ankles, feet, toes, and so on. the epidermis in the torso area, and so on.) Lesson Two: Th e Facial Bones The idea of this lesson is for you to start 1. Find an unlabeled drawing, photo, or looking at wounds or illnesses in terms of chart of the facial bone structure. colors, shapes, and textures instead of by 2. Make a copy of the unlabeled facial bone what you think you already know. Starting structure for yourself to write on. a book for future reference is always a good 3. List the basic facial bone structures on idea. At the end of one year, review your your copy of the unlabeled chart, book. It could include some of the following checking your answers using the labeled wounds: facial charts in Figures 2.1 and 2.2. • A bruise (new, a few days old, a week later) Lesson Th ree: Facial Muscles 1. Find three or four photos of interesting • Scratches (new and old) faces with lots of different expressions. • A cut (new and old) 32 THE BODY Lippincott, Williams&Wilkins.A.Wolters Atlas ofPathophysiology.SecondEdition. Sandra MWaguespack. Ramanan, BarbaraL.Sauls,JanetSomlyay, Dawna Martich,E.AnnMyers,SundaramV. Konick-McMahan, LtManuelD.Leal, F. Galvin,DeborahA.Hanes,Joanne Shelba Durston,KenW.Edmisson,William Bozarth, YvetteP.Conley,LillianCraig, (Contributers) CherylA.Bean,Peggy REFERENCES • Blister(s) • Scar(s) Publishers. New York:BlackDogandLeventhal Fehér, György.2006.CyclopediaAnatomicae. edition. BocaRaton:CRCPress,Raton. Ballistics andForensicTechniques,second Wounds, PracticalAspectsOfFirearms, DiMaio, VincentJ.M.1998.GunShot New York:SterlingPublishingCo.Inc. Barcsay, Jenö.2006.AnatomyForTheArtist. Princetonreview Inc. Workbook I,secondedition.NewYork: Alcamo, I.Edward.2003.AnatomyColoring Chart Company,Skokie,Il. Kluwer Company,Philadelphia:Anatomical Habif, Thomas P. 1996. Clinical Dermatology, ——. 2007. Heat exhaustion. www. third edition. St Louis: Mosby Year Book Inc. medicinenet.com/heat_exhaustion/article. html. Look, Bradley. 2007. How to Cover Facial Disorders. ——. 2007. Heatstroke. www.medicinenet. com/heatstroke/article.html. McNeill, Daniel, 1998. The Face. Boston: Back Bay Books; Little, Brown & Company. Moses, Kenneth P., John C. Banks, Pedro B. Nava, and Darrell Peterson, 2005. Atlas of MedicineNet. 2007. Frostbite. www. Clinical Gross Anatomy. Mosby. medicinenet.com/frostbite/page2.html.

Color 3

© MARY BIRCHLER DESIGNS 36 COLOR color-correcting skintones, liptones, All aspectsofmakeup—foundations fl strong bondofcolorthatwill notliftor on avarietyofsurfacesinwhichthereis that ismixedwithacrylicpaintstobeused combination ofPros-Aide(adhesive) paint colorintheirwork.PaxPaintisa is anexampleofMakeupArtistsusing tones. MixingpigmentstocreatePaxPaint pigments foravarietyofsurfacesandskin includes theMakeupArtistwhomixes wider therangeofcolorsyoucanmix.This purer eachoftheseisintermscolor,the colors arecyan,magenta,andyellow.The do that.Inthesubtractiveprocess,those the threeprimarycolorsthatallowyouto colors andgetthewidestrange,youwant for example.Butifyouaretryingtomix palettes, whetherinbluesorearthcolors, Artists can—andoftendo—selectmany mixing ofpigments. environmental issuessuchaslightingand character design,andtocorrect mood, toenhanceskintoneand Color understandingisusedtocreate with makeup. about whatyouasanartistaretryingtosay wrong colorchoicecanchangeeverything understand coloranditsfunctions.The You cannotproblemsolveunlessyou solve. that youwillhavetobeableproblem countless timeswhencolorissuescomeup in everymakeupyoudo.Therewillbe understand. Youwillusethisknowledge a professionalMakeupArtist,toknowand The basicsofcolorareessentialforyou,as ake off. ake analogous.” existing colors,andwhichcolors are which oppositecolorswilldarken the know howcolorsrelatetoone another, to Don,“Itisimportantfor anartistto eye shadowsandlipstickcolors.According existing colors—forexample,accentsto tones andtofi nd thecomplementcolorsto wheel tomatch,darken,orlightenskin RCW. Youcouldalsousethiscolor without blackpigmentscanusethe rtist whowishestomixdarkcolors be usedinmixingneutraldarks.Anya every colorhasanoppositeto Don’s colorwheelisoneinwhich to color. modernized thewayweuseandrelate Wheel (RCW,Figure3.1),whichhas Don JuskofoundedtheRealColor fi it isaninterestingandcomplex color theoryindetail,as It isalwaysagoodideatostudy Howtocountercolorforfi • Howtocorrectskintones? • Howwillacolorregisteronfi • Howwillcolorslookundercertain • Willtheshadesbepositiveor • Some examplesare: prosthetics—use color. irregularities intheskin,andcoloring concealing tattoos,birthmarks,blemishesor eld. HDTV? HDTV? lighting conditions? negative? lm or lm or 37

FIGURE 3-1: DON JUSKO’S RCW COLOR WHEEL

In this chapter, we refer to Don Jusko’s Real On the RCW, the colors on the outside of Color Wheel and how it relates to the the wheel are pure hues. What you can add Makeup Artist. to alter these colors is a tint with white, a tone with white and the complement color, HOW TO USE THE COLOR WHEEL or a shade with just the complement color. This will determine the ﬁ nal outcome of A color wheel in this true form gives that color, including the addition of the artist a tool to create different hues analogous relationships next to each other and to shade them to neutral darks. The on the wheel. Always start matching or Makeup Artist would take this one step plotting a pure color from the outside of the further by considering what colors also color wheel—this is the pure hue. Finding would work under different conditions: the correct color or area of color, you can lights, color corrections, color grading, and decide where to go from there. For example, so forth. The following will give you the if you want to ﬁ nd the complement of the basic language used to decipher the color that you have already plotted, go to blending of hues. the opposite side of the color wheel. You To begin to understand how to use the will know the color will work. You can then color wheel, it is important to know where to tint, tone, or shade that hue to get the start. desired effect. 38 COLOR FIGURE 3-2:APPLEPRIMARYCOLORS is PR122.TransparentCyan isPB15. is PY150or153.Transparent Magenta to makeallothercolors.Transparent Yellow primary colors.Theycanbe mixedtogether Primary Color(Figure3.2):Therearethree Hue: Anycolor. TERMS FIGURE 3-3:SECONDARYCOLORSANDAWHEEL cyan. Blue: magenta. Red: Madebymixingyellowand colors. are madebymixingtogethertwoprimary Secondary Colors(Figure3.3):that A combinationofmagenta and FIGURE 3-5: A BLACK & WHITE SCALE

FIGURE 3-4: A TINTS COLOR WHEEL

39 Green: A mixture of cyan and yellow. Tints (Figure 3.4): Made by adding white to any hue. FIGURE 3-6: DOTS OF COLOR Dual Tone: A pigment that changes hue from mass tone to top tone. In other words, Classic color schemes will help you to a color that changes as it gets lighter—not decipher which way to plot a color on the just in value, but in its actual color. For color wheel. example, a brown color that changes to a bright yellow color is a dual tone. Purple Monochromatic (Figure 3.5): Any one color that changes from a cool dark to a warm mixed with white. light is a dual tone. Analogous (Figure 3.6): Colors next to each Top Tone: Adding white to a color. other on the color wheel—for example, orange and red or yellow, orange and red, Mass Tone: Color right out of the tube or or cyan and green. pure powder pigment. Complementary (Figure 3.7): Any Undertone: Adding clear media colors 180 degrees apart on a 360-degree Transparent: Dyes are clear—you can see wheel. through transparent dyes. Triadic: Any three colors that are 120 Translucent: Milk is translucent—it can degrees apart on the wheel, usually primary never be transparent by adding a clear colors. medium. Split complementary colors are formed like Opaque: Dense, like a small rock—it a Y on the color wheel—one color on each cannot be seen through. side of a complementary color. 40 COLOR CadmiumYellow LightandCadmium • generate. colors andtheneutraldarks theywill The followingoutlinesthesixopposition you areworkingon. clash againsttheskintoneofperson your work.Thedarkerpigmentswillnot each other,therewillbeanaturallookto shade. Becausethepigmentscomplement makeup whenyouwanttoformadarker It isalsoagreatwaytomixpre-existing with darkerpigmentswithoutusingblack. hue. ThisenablestheMakeupArtisttowork pigments, thecolorwillresultinadarker make neutraldarks.Ifyoumixtwoopposite Opposition, orcomplementary,pigments FIGURE 3-7:RCWWHEEL Yellow Mediumareopposite Ultramarine BurntSienna (Figure3.10),which • CadmiumOrange isoppositeCobaltBlue • YELLOW MEDIUM,ULTRAMARINEBLUE FIGURE 3-8:CADMIUMYELLOWLIGHT, Blue. is adarkorange,opposite Cobalt (Figure 3.9). make theneutraldark. darkens tobrown.Brownandultramarine Blue (Figure3.8).Noticethatyellow • Opaque Cadmium Red Light and Red yellow green to be used as the opposition Dark are opposite Cyan (Figure 3.11). color. Cyan is also called Thalo Blue. The chart in Figure 3.14 illustrates how • Quinacridone Magenta Transparent you can combine pigments to produce PR122 is opposite Thalo Green (Figure browns. 3.12). The chart will also show you how to mix • Purple is opposite Yellow Green (Figure pigments that will give you cool browns or 3.13). Green Oxide Opaque is a dark warm browns. Brown neutral tones in

FIGURE 3-9: CADMIUM ORANGE AND COBALT BLUE FIGURE 3-13: PURPLE OPPOSITE YELLOW GREEN

FIGURE 3-10: BURNT SIENNA

FIGURE 3-11: OPAQUE CADMIUM RED LIGHT, CADMIUM RED DARK AND THALO BLUE

FIGURE 3-12: QUINACRIDONE MAGENTA TRANS. PR:122 FIGURE 3-14: BROWN PIGMENT CHART WITH YELLOW AND THALO GREEN TO BROWN NATURAL OXIDES, BOTH RAW AND BURNT 42 COLOR what pigmentsmakebrownisaplus. or print?Whateverthesituation,knowing working intheatre,fi lm, television,HDTV, special effect?Whatmediumisit?Areyou the lightingsituation?Isthisamakeup at thetime.Whatisskintone? solving forthemakeupsituationyouhave decide touseistheoutcomeofproblem unfl having yourbrownregisteringtoodarkand fi situations wherebrownsregisterdarkeron neutral brownshasalessharsheffect.In camera. Highlightingandcontouringwith browns fl atters andregisterswellforthe natural-looking makeup,avarietyofneutral shadow foramorenaturallook.For most skintones,andespeciallywitheye makeup aregenerallycomplementaryto FIGURE 3-15:TUBEPIGMENTSFOR COLORFUNCTIONS ranges ofcolorsfrom#1yellowto#7red Every skintoneisunique.Allthecolorsand by DonJusko FLESH TONES MIXING PIGMENTFOR lm, stayingwithneutralbrownsavoids attering. Remember thatwhatyou the red. under oroverthefoundationtoneutralize in theface,youcanapplyagreenoryellow emotion. Example:Ifthereistoomuchred can balance,conceal,correct,orshow undertones intheskin,eyes,andlips.Color You willalsoneedtoaddressthe (Figure 3.15). affect yourfi nal makeupapplication Usages andcombinationsofcolorgreatly COLOR FUNCTION your ownbyusingthecolorwheel. also changeexistingfoundationsormix complement color.TheMakeupArtistcan plotted anddarkenwithbrownsthe darker, youwilltakethecoloralready with whiteoryellow.Tomakeaskintone take thecoloralreadyplottedandlightenit colors. Tomakeaskintonelighter,youwill tints and10darksforeachoftheseven brown. Allskincolorshavearangeof10 either byaddingbrownormixing from yellowtoredalldarkenbrown, are colorsusedtogetskintones.Colors You need to understand how colors neutralize reds (for example, to tone down function in relation to makeup artistry. ruddy skin tone or broken capillaries in the face). Warm greens (with yellow added) Red is one of the secondary colors. Magenta look good on golden tones, or golden skin is a primary color. The complementary tones. Cool greens (with cyan or blue color to red is cyan. Red is made by mixing added) look good on cool tones, or skin yellow and magenta. A cool cherry red with cool undertones. Green is also used in (RCW #12.6.5) will bring life into a darker bruising and to portray illness, cold, or cool skin tone, but only if the skin tone is rotting. Green is also used to cover tattoos. cool as well. Orange red will give a healthy Green or shades of green should not be glow to golden skin. Red is also used in used in greenscreen work—anything green makeup effects to show sun damage, alcohol becomes invisible. abuse, windburn, crying, skin lesions and rashes, bruising and trauma to the skin, Orange is a warm color that is between 43 and to neutralize any gray undertones in yellow and red on the RCW. The appliances, and tattoo cover-up. complementary color to orange is halfway between cyan and blue, called Blue is a secondary color. The complement Cobalt Blue (RCW #22). Orange is a to blue is yellow. Cyan is a primary color. vibrant color that can be used as a Blue is a combination of magenta and cyan. highlighter on warm and dark skin tones. Blue will work with most skin tones. Blue Orange is a good color to use for masking and shades of blue should not be used for out blue, as in beard stubble and covering bluescreen work—it will disappear. Blue tattoos. Orange also will neutralize blue can be used in makeup to portray illness, undertones (or blue lighting) in dark skin death, cold, and freezing, as well as bruising tones. of the skin. Violet (RCW #14) is the color between Yellow is a primary color. The purple and magenta. Violet is a cool color. complementary color to yellow is blue. The complementary color to violet is Yellow is used to add warmth to other chartreuse. Violet is used to correct too colors. Yellow browns (gold) in eye much yellow or shallowness in skin tone. shadows, blushers, and lipsticks fl atter Most cool skin tones look good in the color golden skin tones. In makeup, yellow can violet. In makeup, violet and combinations be use to portray illness, weakness, rotting, of violet are used for bruising, wounds, and bruising. freezing, and death.

Green is a secondary color. Green is a Pink is red with tint (white) added. There is combination of cyan and yellow. The a warm pink, which is a light red, and a complement color to green is magenta. cool pink, which is magenta. Pink is Green can be cool (blue green) or warm ﬂ attering to most skin tones. Magenta pink (yellow green). In makeup, green is used to is good on cool skin tones. Warm pink 44 COLOR tend tolookgoodinwhite. colors standout.Cool,darkerskintones used ashighlighters,ortomakedarker tints. Inmakeup,whiteoroff-whitecanbe White isaddedtoothercolorsmake existing colors. can beusedtoadddramaordepth eyeliners, browcolor,andmascara.Black makeup, blackisusedineyeshadows, tones tendtolookgoodinblack.In makes aneutralgray.Cool,darkerskin colors together.Blackmixedwithwhite colors canalsobemadebymixingopposite and makeashadeofthatcolor.Shading Black show goodhealth. in eyeshadows,lipsticks,andblushersto warm skintones.Inmakeup,pinkisused (with goldentonesadded)looksgoodon . Using artistpaperandapencil, 1. Lesson One: Th even morecolorchoices. of thesecolorlessonsasawaytomixget traditional waysofcolormixing.Justthink knowledge canalsobeusedformore- using thedifferentprimarycolors,but Wheel isuptoyou.Thelessonsaddress traditional colorwheelortheRealColor color becomes.Whetheryouusea you usewhatread,theeasierusing have agoodunderstandingabout.Themore Color isoneofthemostimportantthingsto COLOR LESSONS the correctdimensionsand straight draw aRealColorWheel.Be suretouse is oftenusedtodarkenanothercolor e Color Wheel . Usethecolorsseparatelyandmixed 3. Pickthreeoftheoppositioncolorsin 2. Drawthreesimplecontourdrawingsof 1. Darks Neutral Lesson Two: Make Pigments Complementary . Whenyoucomeupwithskintones 3. Darkenthesecolorstobrownbymixing 2. Onartistpaper,createseveralskintones 1. Lesson Four: Several Creating Skin Tones UsetheexamplefromLessonTwo,but 1. Darks Neutral Lesson Th . Afteryouaredonepainting,numberand 3. Paintinthecorrectcolorsonyour 2. together tocreateneutraldarks. colors). Orange andCobaltBlueareopposition highlights (forexample,Cadmium Figure 3.7touseasdetails,shadows,or an objectorface. way tokeeprecordsforfuture use. exact combinationyouused. Thisisa like, writedown,nexttothe color,the your browns. yellow to#7red. use alltherangesofcolorfrom#1 or darkenedaccordingly.Rememberto by usingpigmentsthathavebeentinted (Figure 3.14)forreference. instead followthebrownpigmentchart name thewheel. wheel. reference. edges. UsetheRCWinFigure3.1for ree: Complementary Pigments Make ree: Make Pigments Complementary REFERENCES ——. www.realcolorwheel/pigmentrcwmap. Jusko, Don. www.realcolorwheel.com. htm.

——. www.realcolorwheel.com/ ——. www.realcolorwheel/tubecolors. complementsneutral.htm. htm.

Lighting 4

© MARY BIRCHLER DESIGNS 48 LIGHTING information is notavailable.Soknowyour there willbemany,manytimes that Remember, thisisnotaperfect world— more youknow,thebetter off youare. planned. Therearesomany factors,andthe and whatlights,fi lters, andgelsare are fi lming indoorsoroutside,daynight, production? Youshouldknowwhetheryou you. Isitafi lm, video,HDTV,orstage happy toexplaintheirjoborsituation they arenotbusy.Mostpeoplevery crew andcamera,askquestionswhen questions. Beobservant,watchthelighting you willnotgetthechancetoaskany Director) canhelp.Ofcourseinsomejobs, available, sometimestheFirstAD(Assistant Gaffer (LightingDesigner).Iftheyarenot as theDP,DirectorofPhotography),or Director, theCinematographer(alsoknown Before ashootstarts,askquestionsofthe the outcome. about lighting,fi lters, andgels,thebetter are in,andthemoreinformationyouknow colors workwiththelightingsituationsyou job. Eventually,youwillrecognizewhat invaluable practicalexperiencewitheach years toreallylearn,butyouwillget all tosee.Itworkstogetherandtakes application, themistakeswillbeobviousfor lighting andcolorhaveonyourmakeup enhanced byit.Ifyouignoretheeffectsthat lighting inmind,yourartistrywillbe have designedyourmakeupwiththe meet thosedemands.Mostoften,ifyou camera lens.Makeupisoftenadjustedto that willbeusedinfrontofthelightsor being appliedandthekindofgelsorfi good ideatoknowwhattypeoflightsare tools foraMakeupArtist.Itisalways Lighting canbeoneofthemostimportant lters meaning theapparent color(e.g.,red). color ofthelight.Similarto termhue, Dominate Wavelength(DWL): Theapparent color oflight: the followingtermsareused todescribethe relates welltocoloredlight.Incolorimetry, color, andisofparticularinterestbecauseit Colorimetry isanothersystemfordescribing contradictions andconfusedmeanings. The vocabularyofcolorisaminefi confusion thantotheclarityofsubject. color oflight,contributingmoretothe descriptive termsareusedtodefi than colorinlight.However,thethree explaining colorininkandpaintrather in 1905).Itisasystemdesignedfor Munsell systemofcolornotation(published Hue, value,andchromaaretermsfromthe GAMPRODUCTS, Inc. by Joseph N. Tawil, President, FOR LIGHT COLOR DESCRIPTIONTERMS lightbulbs. can beexpensive,andsoarethose important—the money.Lightingpackages on theproject,preptime,and—very this willbeaccommodated,butitdepends cannot countonit.Onsomeproductions, This isaperfectworkingcondition,butyou or forcamera.” colored gelstosimulatethelightingonstage the makeuproominwhichyoucanput “Often Irecommendthatlightsbesetupin light andcolormixing.Hesuggests: GAMPRODUCTS, Inc.,isanexpertin Joseph N.Tawil,Presidentof and thinkonyourfeet. stuff, andbereadytoworkoutofyourkit ne the ne eld of eld Brightness: The percentage of transmission of the full spectrum of energy (similar to value). Often described as intensity. Purity: The purity of color is similar to chroma. It describes the mixture of color of the DWL with white or the color of the source. If there is only color of the DWL, it is 100 percent pure; but if there is very little DWL in the mixture, as in a tint, the color could be as low as, say, 5 percent pure. White: The presence of all colors in the FIGURE 4-1: ADDITIVE COLORS light. Black: Absence of all colors. 49 Texture: The surface properties of a color, the third primary (complement, as in as in shiny or matte, refl ective or diffusing. completes). For example, by combining red and blue, you get magenta and other colors in the violet and pink range. Combining THE LANGUAGE OF ADDITIVE AND blue and green generates cyan (blue green) SUBTRACTIVE COLOR MIXING colors. Combing red and green creates by Joseph N. Tawil, President, yellow and other colors in the orange range. GAMPRODUCTS, Inc. Complementary colors are also called Color mixing with lights is called additive secondary colors. Violets and pinks are color mixing (Figure 4.1). This tricolor complementary to the primary color green mixing theory was proposed by Sir Thomas because they contain red and blue. Oranges Young in the early 1800s, and it is the basis and yellows are complementary to the for all fi lm and video color systems today. primary color blue because they contain red Young discovered that by mixing red, blue, and green. and green light, he could make the most of the colors in the visible spectrum. Young Tricolor mixing is illustrated in Figure 4.1. determined that red, green, and blue were It is interesting to note that the the ideal primary colors of light because complementary colors (or secondary colors) they allow for the widest variety and create created in the additive color-mixing a reasonable white. Red, green, and blue are process—cyan, yellow, and magenta—are three colors that are widely separated from the primary colors of the subtractive color- each other. Because of this, they will mixing system. Obviously, this in not an combine to make many other colors, accident, and the two theories do tie including, in the right circumstances, white. together.

Combining two primary colors creates a Subtractive Color: Subtractive color secondary color that is a complement of fi ltering (Figure 4.2) is something all of us 50 LIGHTING black. gets darkeranddarker, eventually fi mix theprimarycolorsofpaints, inks,or process. Insubtractivecolor mixing,aswe separating themfromtheadditivecolor as cyan,yellow,andmagenta(CYM), subtractive primarycolorsmoreaccurately Printers andfi processes causesagreatdealofconfusion. the subtractiveandadditivecolor-mixing language todescribeprimarycolorsinboth cyan, andmagenta.Usingthesame color-mixing primariesdescribedasyellow, Filmmakers, however,seethesubtractive these artbooksasred,yellow,andblue. colors. Theprimariesareoftendescribedin about mixingprimariestomakedifferent to readartbookswherepainterstalked variety ofcolors.Later,wewill.It’spossible where wehavemixedpaintstomakea have experiencedinelementaryschool, FIGURE 4-2:SUBTRACTIVECOLORCHART lter emulsionlayers,theresultingcolor lmmakers defi lmmakers the ne daylight (usually5600K).Most fi often usedare3200K(ortungsten), and light source.Thetwopoints ofbalancemost for correctionfi lters istobalanceagiven Correction Filters:Theprimaryfunction light sourceisbetterunderstood. pigments (makeup),allthemysteryabouta and theword“subtractive”ismixing “additive” meansmixinglighttogetacolor, When theartistknowsthatword come toblack. are mixingtheprimarycolorsto subtractive color-mixingprocess,we colors tocomewhitelight.Inthe mixing process,weareaddingprimary Additive Color:Intheadditivecolor- other words: the additiveprocessforcolormixing.In to theLightingDepartment,whichwilluse when mixingmakeuppigments,asopposed Subtractive colormixingiswhatwedo lm and lm television is divided between the two. For example, if you are shooting in an offi ce with sunlight coming through the window, PRO TIP you will want to correct for one or the If the actor is going back and forth be- other. You either warm the sunlight toward tween interior and exterior shots, and tungsten, or you raise the apparent color there is no time for adjustments, choose temperature of the incandescent to daylight. the situation that is the longest on screen, The Makeup Artist needs to understand that or the most important for dramatic con- the light itself does not affect the makeup, tent, for your makeup to be the best. This but how the lights are manipulated by works for fi lm, television, and stage. additive color mixing with the use of gels —Gerd Mairandres, Wigmaster, and fi lters in front of the light source does. San Francisco Opera Fluorescent Light: This type of light is 51 problematic because of the green spikes attributed to it. Manufacturers make two kinds of fl uorescents: warm and cool. The Stage Lighting: Stage lighting uses light for warm leans toward tungsten, and the cool different reasons. There are a wide range leans toward daylight. Other problems with of colors used theatrically. When you’re fl uorescents are inconsistent lamp working in the theatre, the lighting designer manufacturing, aging lamps that are still is there during the technical/rehearsal being used, and the fact that certain colors period, and their color design can be are always missing from the spectrum. If you discussed then. fi nd yourself on a shoot with fl uorescents as a light source, and you need to match or The theatre usually uses an incandescent create a specifi c color (let’s say lipstick), take source unless you’re looking at a xenon a test photo before the shoot begins. follow spot or HMI follow spot, which is very close to daylight, and much bluer in its Video Lights: Video often uses softer lights energy. The makeup is decided by how (soft boxes) for indoor interviews. Film and bright the light will be, how large is the stage video usually work with HMI (hydrargyrum being lit, what color gels or fi lters are being medium-arc iodide) if shooting outside in used to light the actors or objects onstage, the daylight or with incandescent in the and how the light is used around the stage. studio. Be prepared to make adjustments to the makeup if the actor is being moved Photography: Photography uses light to from an interior shot to an exterior shot. create greater dimension, to highlight There is a big difference in the visual different areas, and to reduce or magnify perception of the colors when incandescent details. Natural light is often used to create lights are used inside to do your makeup, moods. Artifi cial lights are used to control and then you go outside and shoot in different shooting situations. Tungsten or daylight or with HMI lights. incandescent lighting is most often used. 52 LIGHTING the gelsforphotocameras,fi Tools. Thefollowingexplainsthecolorof GAMPRODUCTS, Inc.withDigitalFilm fi also digitalequivalentsoflightinggelsand chosen canaffectyourmakeup.Thereare gels andfi lters areusedandwhatcoloris rolls, theaterpeopletowardsheets.Why sheets orrolls.Filmpeopletendtoward polycarbonate. Youusuallybuythemin heat, andareusuallymadeofpolyesteror translucent colors.Theyshouldnotabsorb resistant, andtheycomeindifferent made oftransparentplasticthatisheat for manydifferentreasons.Gelfi putting out.Lightingdesignersusegelfi the lightsourcetochangewhatis Gel fi lters (Figure4.3)areusedinfrontof GEL FILTERS FIGURE 4-3:FILTERCOLORWHEEL lters created bycompaniessuchas lm cameras, lm lters are lters lters these conditions. how toadjustyourmakeupworkunder each colorismostoftenusedfor,aswell video, theatre,anddigitaladd-ins,what discharge sources.Usedonlightsand green, willhelpcorrectsomefl color temperature.Ifusedwith+or− used withothergelstoachievespecifi used tomakealightsourcebluer,andalso daylight ortosuggestnighttime.Canbe Blue Gels:Usedmostoftentomatch eyes tendtosinkorcastashadow. the skintone.Areasoffacesuchas daytime. Toplightintheatretendstopale No-Color Blue:Toplightfortheatrical LightSources for ColoredGelFilters General of Breakdown uorescent or uorescent c windows. Blue gels, depending on what is makeup. Lips appear much lighter. Greens being shot, can have a cooling effect on the will look darker, and violets will look black. skin tone and over all the makeup. Reds Good to create contrast. Used most often for look like hues of violets and pinks (tints). theatre or specialty fi lm. Blues and blue greens tend to fade. Lipsticks Green Gels: Used to match the green spike appear darker. in fl uorescent lights or discharge. Also can Grey Gels: Used on lights where color be used with other gels for color effect. temperature and sharp shadow or patterns Used on lights, windows, and to contrast. must be maintained. Works as a neutralizer All green colors will fade. Blushers all and will also neutralize your makeup colors. but disappear. Lips look dark, so a lighter and brighter lipstick works. The warm tones Orange Gels: If used with appropriate in red orange, orange, and yellow orange amount of + or − green, will help correct look good. Blues will take on a blue green 53 some fl uorescent of discharge sources, and tone. can also be used to simulate sunlight. Use on light or windows. Makeup colors stay CAMERA FILTERS the same, but try not to layer with too many warm tones, which could create an orange by Paul Wheeler, Digital Cinematography face. If the person has a ruddy skin tone, Camera fi lters are used to alter the add green to your makeup. temperature of lights, change an image, or enhance colors. The following fi lters can Yellow Gels: Fills for sunlight and to warm also be used with digital shooting situations: a room. Makeup stays the same, but if the person has sallow skin, use violet to add Color-Compensating Filters (CC Filters): life. Come in primary colors and are used in front of the camera lens to correct light. Yellow Gold Gel: Warm tones, enhances Color-Correction Filters: Used to correct skin tones. Makeup stays the same. If you a daylight scene when shooting with have golden undertones in the skin, all the tungsten-balanced fi lm. warm colors will work. If you have cool undertones, blue greens and red violets look Skin-Tone Warmers: Filters that will warm nice. up skin tones that would appear cold otherwise. Peach Gel: Can be used to make a light source more orange. Will enhance skin Sepia, Coral, and Others: Filters that lend tone. Makeup stays the same. A fl attering a variety of tints to a scene. color for all skin types. Used most often for Graduated Filters: Usually come in colored video or close-up beauty shots. or neutral density fi lters. These fi lters are Red Gels: Used for sunsets, sunrises, fi res, used to darken or color one area of a scene and to add contrast. Red fades most of your without affecting the rest of the scene. 54 LIGHTING in partsofascene. photography aswellreducing refl darken theblueportionof a skyincolor Polar Screens:Screensthatareusedto daylight camera. FLD fi lter correctsfl uorescent lightto or tungsten-balancedvideocamera.The fi Fluorescent-Light Correction:TheFLB portions ofascene. These fi lters affecttheredandorange time withoutaffectinganyoftheothers. Enhancing Filters:Bringoutonecolorata add richnessandoverallwarmth. shadows intohighlights.Abrownnetwill shadows. Darknetswilloftenbleed A whitenetwilldiffusehighlightsinto differently dependingonthecolorused. Net Filters:Netswillaffectthescene “pearlized.” intense sourcesoflight.Highlightsbecome Pro MistFilters:Giveaglowaround far away. camera willappearlessaffectedthanthose Double FogFilters:Objectsneartothe have lessdefi nition andcontrast. Fog Filters:Trytoemulatefog.Imageswill beautifully withbringingupshadowdetails. ambient light.Ultracontrastfi contrast fi lters, butworkwiththeincident, Ultra-Contrast Filters:Likethelow contrast inascene. Low-Contrast Filters:Reducetheoverall scene. the apertureatwhichyouwillshoot Natural-Density Filters:Usedtoopenup lter correctsfl uorescent lighttotypeBfi lters work lters ections lm TONE FIGURE 4-4:THEEFFECTOFINFRAREDLIGHTONSKIN throughout theday. when thesunisstrongest.Be awareofthis the morninglight,andanother wayatnoon look. Yourmakeupcouldlook onewayin highlights. Cloudyorpartial sunhasasofter a harderlight,withstrongershadowsand infl reacts duringashootingdaywillgreatly soften shadows.Butthissaid,howthesun and darks.Cloudyormistydayswill will appeardarker,withcontrastinglights shooting outdoorsindirectlight,shadows side, itwillhaveagreaterdimension.When reduce thedetail.Ifimageislitfrom Backlighting willhighlighttheimageand reduce thetexturesanddepthofphoto. to theMakeupArtist.Frontlightingwill shadows. Thedirectionoflightisimportant through thelightnessordarknessof and-white photographytoportrayemotions, will be.Tonesareusedwithlightinblack- composition andthelevelsoftoneacolor this way,moreattentionshouldbegivento light registerscolorinvariationsofgray.Seen Black-and-white photographywiththeuseof BLACK-AND-WHITE PHOTOGRAPHY uence yourdecisions.Fullsun willcreate Artifi cial lights are used to control the less intensity than red but more intensity brightness of the image and for different than yellow. lighting effects. Usually tungsten or incandescent lighting is used. These light Green Filters: Will lighten green colors. sources can also be used in color Blue Filters: Will lighten blues and darken photography. Digital black-and-white yellow, orange, and red. Works well to photography works by switching the modes enhance fog mist or haziness. within the camera from a color LCD to grayscale. Pictures are taken with color Diffusion Filters: Are used for a soft-focus signals that are recorded by CCD, but the effect (as in softening wrinkles on the image is later processed to remove all face). color. Filters are also used in all forms of black-and-white photography. Many Optical Effect Filters: Are multiimage fi lters such as star fi lters. These fi lters can photographers feel that if you have 55 experience and expert knowledge in black- bring a soft, diffused look to the image. and-white photography, you will thrive in Polarizing Filters: Are used in color and in color photography. That is because of the black-and-white photography. Refl ected natural instincts you will develop by sunlight is reduced, haze can be penetrated, working in gray tones. That theory works and overall skies are darkened. Color for the Makeup Artist as well. saturation is increased. Refl ections are reduced or eliminated. Filters Used in Black-and-White Photography Black-and-white photography uses fi lters to Today, there is, more than ever, a growing alter shades of gray. The following fi lters fi eld of technology in the world of and their functions will allow the Makeup entertainment. What a production chooses Artist to adjust makeup according to what to shoot and edit with can be wide open. fi lters are used, whether for art’s sake or for This technology has opened the door to natural makeup, when adjustments are new and wonderful tools to work with. One necessary. of those tools is being able to edit digitally and create the same effect that gels and Red Filters: Red fi lters are used to add fi lters give when used on a light source. dramatic contrast in black-and-white Digital Film Lab is a unique plug-in from photography. In color photography, red Digital Film Tools meant to simulate a reduces blue and green. Red fi lters will variety of color or black-and-white enhance any red. photographic looks, diffusion and Color- Yellow Filters: Will darken blues and Grad camera fi lters, light gels, fi lm stock, lighten green, yellow, orange, and red and optical lab processes. You would still colors. apply the same principles (fi lter gels) on Orange Filters: Work the same way as what colors to choose for makeup to better red fi lters and yellow fi lters, except with fi t the digital color process it would go 56 LIGHTING his orherwork. Makeup Artistwhythesethings canaffect lesson inlightandgelswill remindthe Lighting, likecolor,iscomplex. Asimple LIGHTING LESSONS and fi lters fromDigitalFilmLabs. show DigitalFilmToolssimulatedcolorgels through later.Figures4.54.11 FIGURE 4-6:DIGITALPLUGFILTERANTIQUE FIGURE 4-5:DIGITALPLUGFILTERORIGINAL FIGURE 4-9:BLEACH FIGURE 4-7:DAYFORNIGHT FIGURE 4-8:COOL a time, with the following colored gels: blue, gray, orange, yellow, red, and green. 3. Observe each picture. 4. Write down the differences that the gel fi lters make to the same object.

This lesson is extreme. You’ll rarely have an actor pure blue or pure green because of ﬁ lters. However, it does show you how your makeup should be adjusted when gel ﬁ lters FIGURE 4-10: HALO are being used.

REFERENCES 57 Tawil, Joseph N. Color Description Terms For Light. www.gamonline.com/catalog/ colortheory/language.php.

—— The Language of Additive and Subtractive Color Mixing. www.gamonline.com/catalog/ colortheory/language.php.

Wheeler, Paul. 2001. Digital Cinematography. Jordon Hill: Focal Press, imprint of Elsevier.

Zolenski, Vicki. 2007. Black and White FIGURE 4-11: INGRY Photography. www.blackboardarts.com. Photography by Larry Stanley Internet Resources Digital Film Tools. www.digitalfi lmtools. com. Lesson One: Gel Filters 1. Take a digital camera and hold a GAMPRODUCTS, Inc. www.gamonline. colored gel fi lter up against the lens. com. Take a close-up picture of an object under a simple light source (for example: Ilford Photo. www.ilfordphoto.com. a plant, fl ower, lips, animal, or whole Robin Kanta Photographic Supply. face). www.photofi lter.com. 2. Using that same object and same light source, continue to take pictures, one at www.montanaphotographer.com

Tech Stuff Tech 5

© MARY BIRCHLER DESIGNS 60 TECH STUFF Makeup Artist. will oftenencounterwhileworkingasa following outlinedescribesmediathatyou “greenscreen”? Whatisamonitor?The and “HD”?Whatis“bluescreen”or the meaningsofsomewords“digital” apply themakeuptorefl ect that.Whatare medium isbeingusedtofi lm, andshould Makeup Artistsshouldbeawareofwhat FIGURE 5-1:ADIGITALHI-DEFCAMERA evaluate whatyourmakeuplookslike be checkedbyreal-timemonitorsto with fi lters ifsodesired.Imagesonsetcan with fi lm. However,graincanbeadded is thetotallackofgrainusuallyassociated projection byastate-of-the-artHDprojector obvious changeswhenyouwatcha With HD(Figure5.1),oneofthemost fi instability. Adjustmentscanbemadewith pictures, noscratching,andpicture digitally projected,thereisnodirtonthe and true.Whetherseenonamonitoror with longtonalranges.Colorsarelifelike High-defi by Paul Wheeler WHAT HDLOOKSLIKE lters orwithin thecameramenus. nition (HD) imagesareverysharp, camera. Anyformofdiffusionona lens inaverysimilarwaytoSuper16 mm diffusion thatcanbedeployedinfrontofthe DP willberestrictedintheamountof HD camerautilizes Working onHDorfilm isverysimilar.Ifthe cooperation betweenthesetwocrafts. to berefl ected inthecloseness the joinforaprostheticorhairpieceneeds period pieces,wigs.Theclosenessbetween prosthetics onsetor,assooftenhappensin close cooperation—especiallyifthereare and theirteam,Ibelieve,hastobeoneof Photography (DP)andtheMakeupDesigner The relationshipbetweenaDirectorof by Paul Wheeler MAKEUP DEPARTMENTANDHD monitor worksbest. before theshot.A24-inchhigh-defi need more-carefulwatching. easier inHD,andjustacouple ofthings environment. Thatsaid,afew thingsare have notroublewhatsoever withtheHD theatrical environment,then theyshould familiar withworkinginthe35 mm fi Basically, iftheMakeupandHairteamsare formats. can begreaterthanwiththesmallerimage will, again,besimilar—butthistimethehelp deploy diffusiontohelpwiththemakeup fi 35 mm single chipsimilarinsizethananormal will notlookfalse.Ifthecamerautilizesa lace willdisappear,buttherestofscene fi and thismakesitverydifficult fortheDPto because diffusionhasagreatereffectinHD, HD camerahastobeverylight.Thisis nd thatsubtlelevelofdiffusionwherethe lm frame,thentheabilitythan 2 / 3 -inch chips,thenthe 2 / nition 3 -inch lm If the production is using an HD monitor of digital cameras are usually progressive decent quality and size on set, then the DP high-defi nition formats. Cameras for and Makeup Supervisor have a much easier digital motion pictures are becoming task. On a well-set-up 14-inch (or, better more and more advanced and easier to still, 24-inch) HD monitor, most problems use with already-existing camera lenses can be more quickly and effectively dealt for fi lm. with. It’s that adage of “what you see is Resolution in Digital: This is a little more what you get”—whereas peering down an complex than what you would assume. optical viewfi nder on a fi lm camera will not Each pixel of the image is partial toward tell you as much. Remember, though, red, green, or blue. The color image is taken neither will be quite as devastatingly critical from this pattern of colors. Film stock has a of your work as when the image is blown certain amount of grain to the image, which up to a cinema screen. But the same has some people feel is lacking with digital always been true of fi lm. 61 pictures. However, a high-end DP knows Note that each frame of fi lm has the little how to light and use the correct fi lters to silver grains in slightly different places. Each get the same images and textures of fi lm. pixel on an HD image is in exactly the same Color grading is often created digitally place on an HD image. Usually, as far as the instead of using a photochemical process. Makeup Artist is concerned, that is not a High-Defi nition Television: HDTV is a problem—but, just occasionally, it needs television broadcast using higher-resolution watching. If the camera or the artist is formats. When considering resolution, the moving, you can usually forget about this— screen and how the image is transmitted but if both are static, then something like come into play. HDTV has a least twice the the pattern of a wig net can, very resolution of standard television. The occasionally, line up with the pixel array, picture on HDTV is clearer, with better and the net will look awful. If spotted early color spectrum. on, no problem. Just a slight change in camera angle will usually put the aligned Digital Television: DTV is a lines out of alignment, and all will be well. telecommunication system for broadcasting. Pictures and sound are received by digital MEDIA EXPLANATIONS signals. Digital television systems can carry both standard-defi nition and high-defi nition Motion Pictures in Digital: Motion formats. Digital television can be received in pictures that are shot digitally are fi lms in different ways: aerial, pay-TV, digital cable, which their images are captured on digital digital satellite, and DTV monitor. formats. These images can be taken with any media that can use digital technology. Digital Photography: Images are captured Digital cinematography is a term usually with electronic devices that record the used to describe when fi lm is being images on binary data. Digital photography substituted for digital. Cinematography image quality is expressed by pixel counts 62 TECH STUFF transparent. Warmcolorswork best.When colors, thefacecanalmost start tolook the surfaceofface.With incorrect spill formatinthebackground toappearon bluescreen. Thebluemakeup mightcausea should notbeusedwhileshooting of abluebackground.Shades photographing orfi lming anactorinfront background. Bluescreenworksby and greens)areoppositeoftheblue shooting people.Skintones(reds,yellows, Bluescreen observed throughalens. by beingprintedonphotographicpaperor black andwhite.Printfi lm mustbeviewed into anegative.Thenegativecanbecoloror Print Film:fi lm when processedturns colored dyes. into metallicsilver,whichreactsbyforming the fi lm is being processed,thesaltsturn are usuallyblue,green,andthenred.When become moresensitivetocolor.Thelayers added tothesilversalts,whichinturn Color Film:Usesthreelayers.Dyesare the blackpartofnegative. This blocksthelightandwillbeexposedas the saltsareconvertedintometallicsilver. of silversalts.Whengrainsaredeveloped, Black-and-White Film:Thereisonelayer image. through achemicalprocesstoexposethat light, itformsanimage.Thefi lm isput suspended bygelatin.Whenexposedto is coatedbysilverhalidesaltsthatare nitrocellulose, orcelluloseacetate.Thefi Photographic Film:Canbepolyester, the correctcolorbalance. and thewaycameracanturndatainto (Figure 5.2):Isusedoftenfor lm supplies Photo by:www.eefx.com–chromakeyscreensand FIGURE 5-2:BLUESCREEN Manhattan. Example: Supermanfl work. could causespillsandtransparency toyour with thebackgroundtoavoidmakeupthat makeup. Leaveoutcolorsthatwillblend shot. Thesameprincipleappliesasfar Special effectscanalsoincludepeopleinthe greenscreen isusedoftenforspecialeffects. more detail.Becauseofthisclarity, a strongerluminancethanblueandshows the samewayasbluescreen.Greenscreenhas Greenscreen (Figure5.3):Isoftenusedin separated fromthebackground. warm tones.Thisisalltokeeptheactor often usedtocastoffyellow,orange,and shooting forbluescreen,lightsandgelsare ying through ying Monitors are set up for the director and DP fi rst. Where they are set up and how will keep the AC (Assistant Camera) busy. The practice I like is for the Second AC to cable from a single primary source on the camera a feed for the monitor the Director and DP will be using. When this is done, a second feed, totally independent from the fi rst feed, is supplied for everyone else to tap into. The Second AC can rig a

FIGURE 5-3: GREENSCREEN single monitor for the Script Supervisor, Photo contributed by Bob Kertesz, www.bluescreen. Makeup, Hair, and Costume. That is, if com the DP allows it. 63 In some situations, there will be different areas for viewing, as Paul Wheeler describes. It not only depends on the DP, it also depends on the Director. The Director and the DP will decide where and how many setups of monitors there will be. One monitor for just the Director and the DP allows them to work in a quiet environment, without the distraction of others, or to work in private. It is very common to have two setups for monitors. FIGURE 5-4: MONITORS Photo contributed by: www.Marshallelectronics.net There can also be a third setup for monitors for the clients, visiting guests, studio executives, and so on. If a monitor is not provided for you, and you need to check Whitescreen: Is used for a variety of your work, ask the First AD if a monitor reasons. The background is white, which can be set up for you. Remember, every set adds to the contrast between screen, clothes, is different. Some jobs will have monitors makeup, and hair. There are no wrong or available for you, and some will not. right choices except to watch colors that are Here are a few examples of monitors to look pale, clothes that are pastels or white. These for: colors might blend into the background. Cathode Ray Tube: CRT monitors are also Monitors (Figure 5.4) help the Makeup available in true progressive-scan monitors. Artist to judge how the makeup looks under the lighting conditions on the set. Paul High-Defi nition Monitor: A good monitor Wheeler: for the Makeup Artist to view. You will get 64 TECH STUFF a littlelessqualitythantheCRTmonitors. often between42and61inches.Theyhave Plasma Screens:Availableinlargerscreens, makeup. colors andlightshowtheyaffectyour at, butisnottherightmonitortocheckfor This monitorislightweightandnicetolook (First AC)toseetheactionbeingshot. a fl exible armthatallowstheFocusPuller usually foundattachedtothecameraoron Liquid CrystalDisplay:LCDmonitors the set. DPs willactuallyusethismonitortolight details willenhanceanyfl a realimageofwhattoexpect,andthe breakdown ofthescript,starting withthe designing makeup.Alldepartments doa process ofanalyzing,developing, and a suggestion—itisessential towardyour your script.Breakingdown ascriptisnot Script breakdownistheprocessofanalyzing SCRIPT BREAKDOWN PRO TIP ing orcorrectingyourmakeup. monitor isnotthebestwaywhencheck- in place.Sometimesfi lm, usingthe image withgels,fi lters, andthelighting the lens.Thisway,youareseeing Operator forpermissiontolookthrough your makeup,asktheDPorCamera In fi lming situations,ifyouneedtocheck aws. Talented aws. breakdown ofthescript. departments, andisthedefi breakdown—this isgivento all Always defertotheScriptSupervisor’s against theScriptSupervisor’s breakdown. Your days/nightswillneedtobechecked Readthroughasecondtime,making 2. Startbyreadingthroughthescript 1. makeup. both manualandcomputerbreakdownsfor breakdown. Itisrecommendedthatyouuse computer programsavailableforscript and maintainthemakeuplooks.Thereare help youmakedecisionsonhowtoachieve factors (suchasrain).Scriptbreakdownwill are night,andifthereanyenvironmental days,” whichscenesareday, happen tothecharacters,howmany“script understanding ofeverythingthathasto how thestorymoves,togetan breakdown isyourchancetounderstand Department, includingbudgeting.Script the designandneedsofMakeup makeup. Thisinformationwillinfl you, andanywrittendescriptionsaffecting location orenvironmentsthatwillaffect (how theylookanddress),makeupeffects, characters, scriptednotesonthecharacters concerns ofashoot.Youwillbuildlists deal withthechangingconditionsand This allowstheMakeupArtisttoeffectively that willcomeupduringprepandfi necessary foransweringthemanyquestions script. Anunderstandingofthescriptis schedule, basedontheinformationin Producers, whoneedtobudgetand scene. notes onwhat“day”or“night”itis,per without takingnotes. nitive uence lming. 3. Read through a third time, making better prepared you are for conversations character notes, and start an effects list. with the Director, Producers, and other 4. List all characters, along with any script department heads. descriptions of their looks. 5. List all makeup effects or looks that need REFERENCES to play in continuous scenes. Make notes Wheeler, Paul. 2001 Digital Cinematography. on how long an effect or look works. Linacre House: Focal Press, an imprint of This is your makeup continuity. Elsevier Example: Fred is hit in SC 3. His cheek is —— 2003. High Defi nition and 24 P bruised. Cinematography. Linacre House: Focal Press, Question: How many scenes does the bruise an imprint of Elsevier. work, and what is the progression or age of 65 the bruising? When is the last time you see Internet Resources the bruise? Digital photography. http://en.wikipedia. org/wiki/Digital_photography. Example: Mary and Joe leave the diner. It starts to rain. They run two blocks to the Digital television. http://en.wikipedia.org/ car. wiki/digital_television.

Question: Where do they drive to? How EEFX. www.eefx.com. long do you maintain the “wet look”? HDTV. http://en.wikipedia.org/wiki/ Your effects list will also help you in HDTV. budgeting for the department. The better you know and understand the script, the www.bluescreen.com

Foundations 6

© MARY BIRCHLER DESIGNS 68 FOUNDATIONS yellow, orange,red,olive,and blue.You tend todominatedarkskin tonesare hues orshadesofskin.Undertones that of Africandecenthavesome 35different tone. Scientistshaveestimated thatpeople melanin intheskin,darkerskin skin isnature’ssunblock,andthemore aging iscausedbythesun.Melaninin Approximately 80to85percentofour the greatestimpactonhowskinages. reaction tosunexposure.UVrayshave UV raysthroughtanning,whichisa ultraviolet raysbyabsorbingandblocking skin. Melaninprotectstheskincellsfrom distributed. Melaninisthepigmentof activated intheskinandwayitis skin colorareduetotheamountofmelanin protect, andtoregulateheat.Differencesin The primaryfunctionoftheskinisto color layering. in greatlengththeartofskintonesand include makeupeffects.Makeupeffectsdeal better MakeupArtist.Thiswouldalso to analyzingskintones,andyouwillbea waiting onyou.Trainyourselfthesteps everyone fromtheDirectortocrewis luxury oftimetoworkonaperson— feet. Inmanycases,wedonothavethe howtobequickandthinkonyour things you’lllearnasaMakeupArtistis appear dull,gray,andlifeless.Oneofthe get thispartright,yourmakeupwill know thatperson’sskintone.Ifyoudonot makeup fortelevision—youwillneedto shoot, orskillfullyapplyingabeauty theatre, creatinganimageforaphoto ﬁ chair—whether youareworkingona For everypersonthatsitsdowninyour lm, designingelaboratecharactersfor Artists. Nancy willguideuswithher color isabasicknowledgefor allMakeup skin tones.Again,thistheory intheuseof powders withcolortoenhance orcorrect also learntocustomblend foundations and the colorwheeltoplotskintones.Youwill outline willshowyouhowtoincorporate analysis, andskincare.Thefollowing teaching theartistryofmakeup,color and internationally.Shespecializesin Tozier teachesthroughouttheUnitedStates doing.” while alwaysknowingexactlywhatyou’re harmony, andchangedulltooutrageous, show fromacrosstheroom,create you cantakeyearsoffaface,makeeyes great one.Byunderstandingcolortheory, change agoodmakeupapplicationinto says: Learningcolortheorycanhelpyou President ofTakeupMake-upCosmetics, Nancy Tozier,DirectorofEducationand skin. illness, yourgoalisahealthytonetothe gray ordullquality?Unlessthepartcallsfor color enhancetheskintone,oristherea color whenappliedtotheskin.Does easily recognized.Lookatwhathappensto undertones, andinsomecasesarenot all playapartinperson’sindividual be with.Ethnicity,environment,andillness combinations, aswellsituationsyouwill the widevarietyofskintonesanddifferent much practicalexperienceandexposureto color youapplytotheskin.Thistakes present justunderthesurfacewillaffect surface oftheskin—theundertonesthatare skin. Donotrelyonjustlookingatthe deal withallthedifferentundertonesin have tolearnandreallyunderstandhow knowledge through color theory and mixing to it, and can be warmed by adding a bit foundation. of yellow. You can see how very similar colors can be warm or cool depending on She explains: “The key to understanding whether blue or yellow undertones are color theory is the artist color wheel.” (See added. Figure 6.1.) Nancy continues: How does the color wheel apply to custom If you divide the color wheel in half from blending cosmetics? top to bottom, the colors on your right are In Chapter 3, we showed you the Real the cool colors—blues, and shades of blue Color Wheel (RCW) for mixing pigments. (blue green, blue violet, and raspberry). Nancy uses the traditional artist color wheel We associate these colors with the cold. for custom blending of cosmetics. The The colors to the left are the warm colors. traditional color wheel primaries are red, They contain yellow. We associate these blue, and yellow. Makeup foundations have 69 colors with ﬁ re. The color at the very these colors in them. To custom blend a top of the wheel, red, can be warmed if a foundation to match the client’s skin little yellow is added, moving toward the perfectly, you must begin by determining orange tones on the left. That very same if the client is warm toned (with golden red can be cooled by the addition of a undertones) or cool toned (with blue little violet, moving toward the blue undertones). People rarely look blue, so we tones on the right. In the same way, say cool (or blue) undertones. A variety of green, at the very bottom of the color brown shades can be made by combining wheel, can be cool if a bit of blue is added the primary colors.

To intensify a color, you add an additional amount of that same color. To neutralize a color, we look at our color wheel and choose the color directly across from the color we want to lessen. For example, if a foundation is too yellow, if we look at a color wheel, we see the opposite color is violet. We add small amounts of violet until we reach the desired tone.

Here is a guide to determine which colors intensify a color, and which colors neutralize a color.

• If the person needs more gold, add yellow. FIGURE 6-1: ARTIST COLOR WHEEL • If the person needs less yellow, add violet. 70 FOUNDATIONS wheel. of theoppositecolor.Checkyourcolor neutralize, youcanalwaysaddbackinsome to add.Ifyouaddtoomuchcolor practice, youwilllearntheexactamounts beaker foraccuratemeasurements.With from. Alwaysmixyourfoundationsina larger-sized foundationbottlestowork blend, aswellemptybottlesorjars,and makeup companiesofferthetoolstocustom powders aswell.Mostprivate-label This methodcanbeusedwithtranslucent Ifthepersonneedslesspeach,fi • Ifthepersonneedslesspinkorhas • . Lookcloselyattheactor’sskintone.Do 2. Ifyouhaveonhanddifferentcolorsof 1. to do: rarely lookblue,let’ssaycool.)Here’swhat as blueundertones,butbecausepeople (Cool undertonesaresometimesreferredto golden undertonesorcoolundertones? or cooltoned.Doestheclient’sskinhave by determiningiftheclientiswarmtoned the client’sskinperfectly,youmustbegin To customblendafoundationthatmatches President, Take upMake-upCosmetics by Nancy Tozier, Director Educationand of MIXING FOUNDATIONS COLOR THEORYAND mint, thenviolet. rosacea, addgreen. or browntonewithgolden. Manypeople you seeanygold?Don’tconfuse abeige tones. would behelpfulindeterminingskin cosmetic orbarbercapsdrapes,that rst add . Ifacoloriswrongforperson,their skin 4. for isiftheirskintakesonahealthylook. colors nexttotheskin.Whatyouarelooking avocado green,ordeepgoldwouldbegood but hasdarkercoloring,burntorange, If youthinktheactorhasagoldenskintone Ifyouthinktheactorhasawarmskin 3. sources ofcolor. the skinwithoutinterferencefromother daylight sothatyouwillgetthebestviewof Make surethattheactorisseatedinbright clients withdifferentskintones. find thecolorsthatbringoutbestfor first. Usethechartoppositetohelpyou discouraged ifitisn’teasily apparent at picture takespractice,sodon’t get the color.Learningtoseewhole for theeffectonskin,notifyoulike a colorcloudyourvision.Youarelooking and vibrant.Don’tletyourpreferencefor good foraperson,theywilllookhealthy will takeonagrayishcast.Ifthecoloris good colorstoplacenexttheskin. golden yellow,gold,oradobewouldbe tone andtheirskinisfair,thenlight cool toned. with differentdepthsofcolorcanbe tones. colors suggestedaboveforcheckingskin from yourmakeupkitthataresimilartothe You canuseblusheroreye-shadowcolors PRO TIP 6. Clean paper towels for keeping things tidy.

Select a color of foundation similar to the level of lightness or darkness of your client’s skin. At this point, you also need to try to match the client’s undertones. Does her face look golden, pink, greenish, or peachy? Look for a similar foundation color. Most custom blend foundations come with the following additives: yellow, violet, green, or white. You may have to mix two different foundations if the client’s coloring falls between the shades of foundation that you 71 are using. Place a little less than two

FIGURE 6-2: TAKE UP MAKE-UP COSMETICS’ COLOR ounces of foundation in the beaker. CHART Remember that you will be adding some color, and you want the fi nished amount to FOUNDATION MIXING fi t into the bottle. by Nancy Tozier, Director of Education and Test the color on the client’s jawline. You President, Take up Make-up Cosmetics want to match the color of the client’s neck. Once you have determined the shades that A foundation that matches the client’s neck are best suited to the person, you will begin will give the most harmonious appearance. the process of mixing foundations to correct We’ve all seen too many faces that appear to or enhance the actor’s skin tone. be a completely different color than the person’s neck. A sure sign of unprofessional First, be sure that the client is seated in makeup! good daylight, just as you did in the color exercise. You will need to have the Now determine if the foundation needs following on hand: correction. If, for example, the client’s skin 1. Several shades of foundation that are is more golden than your foundation, you close to your client’s natural coloring. would add more gold. This is called intensifying a color. If your client’s skin 2. Several shades of corrector in mint is less golden than your foundation, you green, pale yellow, violet, and white. want to lessen the amount of gold in the 3. A glass beaker to mix your new foundation. This is called neutralizing a foundation in. color. If you add too much color, you can 4. A skin-care spatula for mixing. always neutralize it by adding some of the 5. An empty foundation bottle in which to opposite color, easily identifi ed using the pour the fi nished foundation. color wheel. 72 FOUNDATIONS opposite. of thesamecolor;toneutralize,add So, inreview,tointensifyacolor,addmore sized foundationbottlestoworkfrom. as wellemptybottlesorjarsandlarger- companies offerthetoolstocustomblend, powders aswell.Mostprivate-labelmakeup This methodcanbeusedwithtranslucent Iftheclientneedslesspeach,fi • Iftheclientneedslesspinkoriscovering • Iftheclientneedslessyellow,addviolet. • neck willneutralize theyellowandlook violet toafoundationthatmatches the For someonewhoisoverly yellow, adding and givesacalmer,lessred appearance. the face,itneutralizesunwanted color will begintolookdull,butwhenapplied mint greentoit.Thecolorofthefoundation usually muchlessred),andbeginbyadding foundation thatmatchestheneck(whichis If apersonhasveryredskin,fi Here aresometechniques: Someskintoneshaveanalmostgreenish • Someonewillnaturallyhaveso • Someonewithrosaceaneedshelp • example: skin colorpresentsaspecialproblem.For Nancy explainsthatsometimesaperson’s SPECIAL FOUNDATIONNEEDS mint, thenviolet. rosacea, addmintgreen. hue thatcanactuallyappearunhealthy. sallow. much golden(yellow)tonethattheylook managing redness. nd a nd rst add variety oftextures andconsistencies:tinted Foundation ormakeupbase comesina sunscreen. and, withsomeproducts,provide alight the skin,protectfromenvironment, Foundations alsoprovideaddedmoistureto provide abaseonwhichtoapplymakeup. even outskintone,hidefi ne lines,and Makeup foundation’scosmeticpurposeisto FOUNDATIONS ANDPRIMERS working withtheindividual’sskintone. and letyouseehowyourcolorchoicesare cape willhelpyouneutralizethisproblem is notgoodfortheirskintone,thedrapeor the colorpalettedesignedforprojector clothing inacolorthatisnotsuitablefor Artists useblack.Iftheactoriswearing come inseveralcolors,butmostMakeup barber’s drapeorhairstylist’scape.They You willbedrapingyouractorwitha if itmatcheswiththefaceandneck. foundation ontheskinatjawlinetosee color analysisoftheskinbytesting sensitive. Youwillbedoingapractical environments thatrequireyoutobetime and matchingonyourfeet,workingin to getthematchneeded.Youwillbemixing “premixed” foundationstogetheronpalettes we arenotmixingcolors.Wealsomixthese primers, andcamoufl age creamstocorrectif foundations, aswellconcealers,tinted industry, weworkwithpremixed foundation mixing.Intoday’sfast-paced understanding onskincoloranalysesand Nancy givesusvaluablelessonsand base oftheneck. cover theneckandbewellblendedat yellow aswell,sofoundationwillneedto beautiful. Inthissituation,oftentheneckis moisturizers, liquid, cream, cake, stick, PRIMERS cream to powder, and powder. You can Foundation primers even out the texture of achieve a different level of coverage with the skin, keep the makeup smooth and each type of foundation. Color, consistency, fl awless, add longevity to the makeup, and and coverage will guide you in choosing protect the skin underneath. They also what foundation to use for different skin prevent moisture loss. Some Makeup Artists types and situations, and if you should or always use a primer to prep the skin before should not use a primer fi rst. applying foundation. Some use primers only when they decide primers are needed to achieve a certain look or when they need to protect the skin. Silicone-based primers are PRO TIP great for sensitive or allergic skin. The Remember the three Cs of choosing what silicone used is nontoxic. These primers foundation to use: Color, Consistency, actually protect the skin from the makeup 73 Coverage. foundation by putting a barrier between the foundation and skin. This will lessen the breakouts for sensitive or allergic skin. Silicone primers also fi ll in enlarged pores, Ingredients are another important factor in acne scars, fi ne lines, and wrinkles. Primers choosing what foundation to use on the come in violet, green, pink and yellow tint. various different skin types you will These are great to help even out undertones encounter. Water-based, emollient-based, on skin that does not need heavy concealing. and mineral-based products are all Industry All primers are applied before the foundation Standards and should be part of your kit. In with a sponge, brush, or hands. today’s industry, skin care has become very important. People pay close attention to the Some examples of industry primers are: care and condition of their skin and the ColorScience, Laura Mercier Foundation products that work best for them. You will Primer, LORAC, Paula Dorf, smashbox, and need to stay up on the latest in skin-care YSL. treatments, products, and ingredients. Note: If you apply primers, foundations, blush, and so on with your hands, you must wash your hands thoroughly with soap and water before and after. Hand application is PRO TIP controversial in the fi lm/television world; I encourage everyone to promote their own not so for print. Many Makeup Artists skin care at home so that we may begin with believe it should not be done under any a proper surface. circumstance, that it is unprofessional and —Richard Dean not sanitary. Of course, just as many Makeup Artists believe it is a valuable technique, especially when working with 74 FOUNDATIONS FOUNDATIONS you havetoomanypeopletomakeup. hand applicationisnotpracticalbecause additional MakeupArtistforcrowdscenes, or brush.Ifyouareworkingasan contact withtheskinexceptasponge preference—some loveit;otherspreferno liquids. Actorsarealsosplitontheir skin, chooseahydratingfoundation. water-based foundation.For dryormature formulas. Foroilyorsensitive skin,usea emollient (hydrating),andmineral-based types, andareavailableinwater-based, smooth fi nish. Theyaregoodforallskin apply withaspongeorbrushtoget coverage thatlooksnatural,andareeasyto Liquid Foundations:Giveasheeroverall Moisturizer, StilaColorTintedMoisturizer. Industry Standards:LauraMercierTinted on goodskin. or whenyouneedjustahintofaddedcolor of colorifneeded.Theyaregreatonmen, even outskintone,andcanaddjustahint a lotofcorrection.Tintedmoisturizerswill lightest ofcoverage,whenyoudonotneed Tinted Moisturizers:Arethesheerestor makeup kits. readily, thoughtheyarealsofoundinmost foundations arealsoused,butnotas skin toneandtype.Cakestick matching. Thiswillallowyoutohandleany good selectionofcolorsformixingand need tohavealloftheminyourkit,witha and mineral-basedfoundations.Youwill cream-based, water-based,emollient-based, industry aretintedmoisturizers,liquids,and The mostpopularfoundationsinthe you abeautifulandfl more coverage.Layeringover aliquidgives coverage, andlayeringover aliquidforeven with creamfoundations:sheer, more deep tone.Youcanachievedifferentfi overall coveragewitharichtextureand applied withaspongeorbrush,providing widely useinallmedia,andareeasily excellent coverage.Creamfoundationsare wonderful onallskintypesandprovide compact orstick(panstick).Theyare Cream Foundations:Usuallycomeina ColorScience. glominerals, Illuminaré,JaneIredale, Industry Standards:BareEscentuals, parabens. Theyarenottestedonanimals. water resistant,andcontainnotalcor spectrum UVAandUVBprotection,are in liquidorpowderform.Theyofferbroad- sponge ormakeupbrush.Theyareavailable the skin.Theyshouldbeappliedwitha that doesnotsettleintofi ne linesorirritate based makeupgiveslong-lastingcoverage sensitive skin,aswellrosacea.Mineral- They aregreatforpeoplewithallergiesand are inert,theywillnotsupportbacteria. fewer ingredients,andbecausetheminerals sensitive oracne-proneskin.Thereare Mineral Foundations:Aregreatfor ColorStay, Visiora. M•A•C, MakeUpForEver,Revlon Chanel, Clinque,EstéeLauder,Iman, Industry Standards:Armani,BobbiBrown, powdered. industry, easytomix,anddonothavebe types. Liquidsarewidelyusedinthe Mineral foundationsaregoodwithallskin because itismore product,therecouldbe awless fi awless but nish, nishes some fi lm and lighting situations that it opaque, and fi ll in fi ne lines and scars. would be too heavy for. It is good for all Fillers can be used on bare skin, under skin types, but best on dry skin. It should makeup, or over makeup. Mattifi ers take be set with powder. down shine, and are great for bare skin, bald heads, and prosthetics. Industry Standards: Black Opal, Bobbi Brown, Cinema Secrets, Gerda Spillmann, Industry Standards: Make-Up International Iman, M•A•C, RCMA, Visiora. Face to Face Supermatte Antishine (comes Powder Foundations: Are great for the in Light, Medium, and Dark), Lancôme Pure two-for-one application. They give a fl awless Focus T-Zone. matte fi nish. Apply with a dry sponge or Try: Benefi t’s is dr. feelgood for smoothing makeup brush. For more coverage, use a and fi lling in under or over makeup. damp sponge to apply. It’s not for every skin type, and works best on oily or acne- CONCEALERS 75 prone skin, but also works well for normal Concealers even out skin tone, and cover or combination skin. It’s great for quick blemishes, scars, bruising, discoloration, and solutions when there is no time, on set circles under the eyes. They have a thicker touch-ups, or for fast application of color. composition than foundation, and are It’s also good in humid conditions. available in cream, stick, tube, pots, and Industry Standards: Lancôme Dual Finish, liquid. Sometimes a concealer is the only M•A•C Studio Fix. product a Makeup Artist needs to even out Cream to Powder Foundations: Are good someone’s skin tone (see “Spot Painting” in for most skin types, but great for Chapter 7). You will also use concealers on combination skin. They should be applied the body to cover any unattractive marks, with a dry sponge. bruises, or scars, or to cover tattoos. For the face and body (not the eye area), concealers Try: Benefi t’s some kind-a gorgeous, Vincent with a high pigment are best for Longo Water Canvas Creme-to-Powder camoufl aging because they provide complete Foundation. coverage and last longer. You need to blend Cake Makeup: Comes in the form of a the concealer well into the skin so that it “cake” and is usually applied with a damp disappears, especially if you are not using a sponge. It gives a matte fi nish. The sponge makeup foundation on the skin. You can should not be wet, but damp to get a apply concealer under or over makeup smooth fi nish. It is used extensively for foundation. stage performers for face painting, clown makeup, fantasy, and body makeup. Note that concealers are designed to be applied over the foundation if you are using Industry Standards: KRYOLAN, Mehron. a liquid or cream base. If you are using a Fillers and Mattifying Products: Are great powder or dry foundation, apply the to use on bare skin. The fi llers are clear or concealer underneath the base. With the 76 FOUNDATIONS FIGURE 6-3:FOUNDATIONCOMPARISON CHARTBYMARYERICKSONANDSUZANNEPATTERSON exception of dry foundations, most Makeup properties. A stick concealer offers more Artists do both, under and over, when coverage but is more diffi cult to blend, so it applying concealer. Your choice will become can be hard on the skin around the eyes. To part of your working technique and style. avoid irritation and to keep the stick In diffi cult camoufl age situations, you will sanitary, do not apply the stick directly to need to apply both under and over the the skin. Do not powder under the eyes. foundation to get the coverage needed. Try Industry Standards: Paula Dorf, Iman, applying concealer both under and over a Kanebo, LORAC, Touche Éclat (YSL), foundation for effect. Valorie. Industry Standards: KRYOLAN Dermacolor, Ben Nye, Joe Blasco. HIGHLIGHTS AND CONTOURS Throughout the makeup world, you’ll get Under-eye concealers come in stick, cream, different opinions on if or when you should or pot, as well as liquid. Look for concealers 77 apply the theory of highlights and contours. As that are creamy in texture, with light to lighting and fi lm stock have evolved, so has medium pigment. Remember that the skin makeup. Back in the day, Makeup Artists around the eye is delicate, so the products would “blank out” the face to start with a you use to conceal around the eye area blank canvas, and use the tools of highlight should be, too. If the product is too thick or and contour to literally paint the preferred uses a heavy pigment, you will have to work features back in. Today, this technique of too hard to blend, irritating the thin skin “blanking out” the face is rarely used, but there tissue. Choose a concealer one shade lighter will be a moment in your career when you will than the foundation that you are working need to apply it—a drag makeup, for example. with, and one that has moisturizing Today, Makeup Artists use highlights and contours in a subtle way, without blanking out the features of the face fi rst. We create dimension and highlight features, but with a realistic touch or aesthetic. Sometimes a Makeup Artist is using the technique of highlight and contour without really knowing it. Examples include applying a lighter color under the eyebrow (highlight), or adding a touch of shade under the cheekbone to sculpt out more defi nition (contour). What are highlights and contours, or highlights versus shading? Highlights are lighter colors that are applied to any area the Makeup Artist wants to stand out. FIGURE 6-4: DERMA COLOR PALETTE Contours are darker colors that are applied 78 FOUNDATIONS the featuresofface. importance ofwherelightsanddarksfallon to learnfacialstructureandrecognizethe long run,itisimportantforaMakeupArtist well forbothhighlightsandcontours.Inthe details withthechartsonwhatcolorswork outer upperbrowbone.We’llgointomore create highlightsonthetopcheekboneand for example,inthetemplearea,youwill opposite. Ifyouapplyacontourorshade, contour. Thesamecanbesaidofthe sink orshadowrightbelowthereforyour cheekbone, youwillautomaticallycreatea shade, forexample,onthetopof both. Thinkaboutit.Ifyouapplyalighter who eitherhighlightorcontour,butnot makeup. TherearemanyMakeupArtists contours withnoonebeingabletoseethe fl With blending,youcancreatebeautiful, Director hasrequestedano-makeuplook. worse thananoverdonelookwhenthe makeup willbe.Thatsaid,thereisnothing Makeup Artistcanachieve,thebetter more ofathree-dimensionaleffectthatthe situations thatcanturnthefacefl and depth,therearecertainlighting or setback.Althoughthefacehasshape to anyareatheMakeupArtistwantssink awless makeup usinghighlightsand planes recede. Forward planescatchthelight.Recessed PRO TIP —Gerd Mairandres,Wigmaster, San FranciscoOpera at. The at. as creativeyouwanttobe. with anothercolorisatint,soyoucanbe learned inChapter3—thatwhitemixed situations istooharsh.Rememberwhatyou best—except purewhite,whichinmost skin tonethatyouareworkingonwillwork color thatisafewdegreeslighterthanthe whites, cream,pinks,gold,yellows,orany be seenasheavy-handed.Highlightsinoff- TV, HD,print,andtheater),yourworkwill or tooheavilyappliedforallmedia(fi important. Ifthehighlightcoloristoolight The correctcolorstouseforhighlightsare HIGHLIGHTS create aboldcontrastbetween lightand the techniqueofchiaroscuro isusedto In paintingaswellintheatrical makeup, dramatic effects. without seamstocreatecontrastsor strong colorscanbeblendedtogether edge. Askillfulbalanceofstrongornot-so- seamless fi nish withnovisiblelineorhard using yourtoolstoachieveasmooth, Blending istheartofapplyingmakeup BLENDING pigments tomakebrowns. mixing colortogetneutraldarks,and to Chapter3,you’llseesixexamplesof black tocontour.Remember,ifyougoback working on.Youshouldneverusepure degrees darkerthantheskintoneyouare oranges, andagainanyshadethatisafew colors arebrownishpinks,reds,grays, type ofmakeupyouarecreating.Good pigments canbeuseddependingonwhat Shades ofdarkermakeupfromblushersto CONTOURS lm, dark. Chiaroscuro, an Italian term literally Cream to Powder: Cream eye shadow that meaning “light-dark,” originated as a term dries to a powder fi nish. Can be worn alone for a type of Renaissance drawing on or layered. colored paper. The artist worked from the Gel: Found most often in pots, gel products base tone toward light and dark. It is also a are used as eye shadow or eyeliner. They term used in makeup to refer to blending are quick drying, easy-glide application, and from light to dark for a three-dimensional, long lasting. They can be used in seamless effect. It is very helpful for all combination with other eye shadow applications of makeup to learn chiaroscuro. products. Gels also come in glosses that dry You use subtle graduations of color in light to a shine that gives the eye shadow an and dark shades to enhance the delineation appearance of being wet. of character for dramatic effect. Remember to blend to the end. Liquid: Liquid eye shadow generally comes in a tube, usually with a wand or brush 79 attached.

PRO TIP Loose Powder: Comes in jars. It can be used wet or dry. Products are highly Any makeup can be bold as long as it is well concentrated with color. They can be used blended. alone or layered in combination with other —Gerd Mairandres, Wigmaster, eye products. They are messy—the loose San Francisco Opera powder tends to “fl oat” everywhere. If using, do the eyes fi rst, foundation last, to prevent shadow from dropping onto the foundation. Note: Chiaroscuro is also a term used in Pencils or Pens: Are highly pigmented, cinematography to indicate extreme low-key frosty or sheer. Some formulas are lighting to create distance areas of light and waterproof or water resistant in small or darkness in fi lm, especially black-and-white large pencil form. You will need special fi lm. sharpeners for these. Pressed Powder: Are usually in compact or MORE ABOUT PRODUCTS drop-in disks to customize your eye-shadow Eye Shadow palette. It can be used wet or dry. Cream Shadow: Cream eye shadows are Waterproof Eye Shadow Products: Are used alone or with other eye shadow usually found in jars, tubes, or pencil form. products. They can come in tubes, pots, They contain a polymer ingredient. They are wands, and compacts. Cream eye shadows formulated to not crease or fade. can have a dewy, glossy, or frosty appearance, depending on the product. Eyeliner Some are formulated to be waterproof or Cake: Applied with a brush that is damp. water resistant. Cake eyeliner is great for smudging. Cake 80 FOUNDATIONS application (thinkwatercolors). with eyeshadow(orproduct)inthe found inliquidform,andcanbemixed smearing, orlifting.Sealersareusually shadow oreyelinerfromsmudging, Sealers: Productsusedtoprotectanyeye thick. kohl, andmatte,witheitherafi ne pointor water-resistant products,andcomeinfrost, They canbeformulatedinwaterproofand Pencils: Easyapplicationandblending. messy. top forlongerwear.Loosepowdercanbe that canbeusedwetordry.Useasealeron Loose Powder:Highlypigmentedpowder with liquids. a verysteadyhand.“Painters”workwell with abrushandisquickdrying,butneeds must formany“period”looks.Itisapplied Liquid: Addsdramatoyourlook,anda with abrushandusuallyfoundinjars. to apply.Itislonglasting.Gelapplied Gel: Usedlikealiquidorcake,butiseasier and arecreamsorpowderformulas. products usuallycomeincompactsorjars, into themascara formula.Theythicken Fillers: Arefoundaloneorcombined length inthe“NaturalLook.” lashes, andhelpstoshowoff defi regular mascara.Itgivesanice sheentothe Clear: Comesintubesandisappliedlike light orblondelashes. to getthebaseoflashes,particularlyon lashes, withno“clumps,”andworksgreat brush givesyouathoroughcoatonthe small fanbrush.Cakemascaraanda Cake: Isappliedwithaneyelashbrushor Mascara nition and nition to bean“all-in-one” productforcheeksand sheer translucentincolor.Many aremade moisturizers, andliquids.Tints andgelsare Tints andGels:Foundincreams,gels, or incombination. textures andformulas.Itcanbeusedalone Loose Powder:Comesinawiderangeof loose. touch-ups becauseitispressedandnot compact form.Itisgreatfor“on-set” wide rangeoftexturesandformulasin combination withcreams.Itcomesina Pressed Powder:Canbeusedaloneorin compacts, sticks,andliquids. fi Formulas comeincreamtopowder can beusedaloneorwithotherproducts. Cream Blush:Canbehighlypigmented.It Blushers fi waterproof mascara.Primerscanbeused mascara removerinordertotakeoff quick drying.Youmusthavecorrect Waterproof: Smudgeproof,creaseproof,and Tinted: Coloredmascara,usuallyintubes. before mascara. from mascara.Remembertoapplyfi longer lookandinprotectingtheeyelashes mascara. Theyarehelpfulincreatinga eye, andalsopreparethelashesfor Primers: Actasmoisturizersforthe used asasealerforthemascara. vibrancy tothelashes.Theycanalsobe mascara, theyareusedtoaddsheenand Top Coats:Appliedtotheeyelashesafter nylon fi and lengthen.Theyareusuallymadeoutof nish. Cream blushescomeinjars, rst, forease ofremoval. bers. rst, lips. Some are water resistant and oil free. creating “period” looks. Matte lipsticks are They can be used alone or combined. long wearing because they are so dense.

Frost: Comes in lipsticks, pots, gloss, Eyebrows and tints, with different levels of frost or Cake: Powder form, pressed or loose, and glitter. come in jars, compacts, and pencil form. They are the easiest and most natural way Gloss: Sheer formulas with high gloss or to defi ne a brow. Cake eyebrow defi ner is wet look. Gloss lipsticks can be used alone most often used with a stiff eye brush. It or in combination as a top coat to the lips. can be wet or dry. Treatments: Balms, conditioners, and Gels: Usually transparent, but are available treatment sticks for the lips. They are in tints. Gels can be used alone or after available with sun protection, natural plant extracts, vitamins, and moisturizing brow color has been applied. They dry 81 quickly, are often waterproof, and hold the properties. They soothe dry lips and can brow shape in place. come in tints. They may be used alone or in combination. Pencils: Eyebrow pencils have an extra-hard point for drawing, shaping, and fi lling in Lip Scrubs: Treatment products to exfoliate brows. They are very pigmented, and come the lips (get rid of dry skin). in assorted colors, and can be used in Lip Plumper: Contains ingredients for combination with other brow products. plumping the lip area. Sometimes there is a Thickening: Eyebrow thickeners are like tingling sensation when applied. mascaras for the eyebrows. They have Lip Wax: Wax formula used before lipstick hairlike fi bers that are suspended in the application to fi ll in lines and wrinkles. Lip formula to add volume and coverage to the wax also preps the lips for lipstick. brows. Lip Liners: Come in pencil, pen, or stick Wax: Used to shape, enhance, or fi ll the form. They are used to reshape and enhance brow while holding the brow shape. It the lip line before lipstick application, and comes in different colors and can be can be used alone with a lip moisturizer combined with other products. (like a tint) or in combination with all lip products. Lipstick Cream: Contains moisturizing properties Websites and Addresses and is highly pigmented. Cream lipsticks go Frends Beauty Supply, www.naimies.com on smooth, and some contain sun protection and vitamins. They come in Nancy Tozier, Take Up Cosmetics matte, shine, and frost formulas. www.sephora.com

Matte: Lipstick that is ﬂ at with no shine. It Suzanne Patterson, www.creativeartistryfx. tends to be very pigmented. It is great for com

Basics

7 And Beauty

© MARY BIRCHLER DESIGNS 84 BEAUTY AND BASICS Standards aretrustedandproven—they experimenting, ortesting.Industry when thereisnotimefordiscovery, on thatproducttoalwayswork foryou not causeskinirritation,you willrely product works,photographswell,anddoes to theindustry.Onceyouknowthata Brand andnamerecognitionareimportant that willbefoundineverymakeupkit. know andrecognize.Theseareproducts chapter andtherestofbookforyouto “Industry Standards”throughoutthis you needalltheparts.Wewillnote affect yourwork.Tomakeupthewhole, understand alltheelementsandaspectsthat move forwardandexcel,youneedto In ordertohavethebackgroundneeded with themoretechnicalaspectsofmakeup. designs. Thisiswhywestartedthebook more advancedmakeupapplicationsand to excelinthebasicsbeforemovingon Makeup Artistuseseveryday.Wewantyou skills andmakeupapplicationsthata this chapter,wewillstartwiththebasic you topaintwithendlesspossibilities.In shapes, thebody,color,andlightingenable Your imaginationandyourknowledgeof more naturalisticaesthetic. makeup has,too,evolvedtoappreciatea became theacceptedconvention,beauty and “reality,”ratherthan“theatricality,” stock andlightingbecamemoreforgiving, those featuresmeanttobeseen.Asfi and todrawin,oftenalmostcartoonishly, much detailoftheactor’sfaceaspossible well astheatricalcustom,toeliminate nature oflightingandfilm technology,as At onetimeitwascriticalbecauseofthe —Richard Dean,MakeupArtist lm attention todetailasaprincipalactor.) fi actors playasupportivebutintegralrolein referred toasa“backgroundartist”;these “extra” isabackgroundactor,sometimes the grimeneededtoselllook.(An o’clock shadow,orgivethe“homelessextra” add 10yearstoacharacter,applyfi tattoo, breakanose,applytanorsunburn, example, abeautymakeup,coveranactor’s any numberofdifferentmakeups—for Within oneday,aMakeupArtistcoulddo Chapter 8,“Design.” work. Wewillcoverthetestingoflooksin interpretations ofmakeupis alsoimportant. Understanding themanydifferent Producers, andclients. is afrequentrequestbyall Directors, in allmedia,foragesandgenders, Believability totheeyeiskey.Itrequested a subtleeyeandhandfortherealisticlooks. assistance ofmakeup.Youneedtodevelop looks thatseemorganicwithoutthe It couldalsobeadayaboutcreatingnatural lmmaking, andneedtohavethesame the fi nished applicationof theartist. cation (notgood),and“themakeup”is unclean, notblendedwell,unevenappli- “The makeuplooksmuddy.”“Muddy”is a characterordesignofmakeup.Example: ring tothespecific lookthatisbeingdone: or referringtoacolleague.Theyarerefer- makeup” or“thewhenspeaking world. Makeupartistsoftenreferto“a We haveourownslanginthemakeup ve What is natural to one person is over-made- Retail cosmetic counters also offer a chance up to another. In the beginning of your to gain experience with a wide variety of career, this is one of the more frustrating skin tones, facial structure, and vanity, but situations: unclear communication about you will experience doing only “symmetrical the makeup. It is subjective and at times beauty makeup,” which is not always diffi cult to communicate what a look should applied in fi lm. be. With experience comes the ability to The camera loves irregularity. It assess the situation and decipher what is photographs well, so we do not necessarily being requested. There is also time during strive for symmetry in fi lm (see Chapter 8: the prep pause of a job for understanding Design). what is needed. Prep is the period prior to fi lming, shooting, or staging when you have Makeup Artists use their artistry on the skin initial design discussions and even “test the to create, but we do provide a service. We makeup looks” (see Chapter 8: Design). care for the person’s outer look or character, 85 and in some situations for the person Take any opportunity to hone your talents himself or herself, and that person’s skin. and skills for all skin tones and types. The We care for the looks we create and the more faces you do, the better you will be. A person we paint on. Maintaining the look of great opportunity is working “the line,” or the character takes place over the length of “bull pen,” for a fi lm or opera company. the fi lm or project, one day or several You are one of many Makeup Artists months. Film and TV have long days: 12- painting for the crowds, and you have little plus hours per day—with 13 to 14 hours time to do it in. This exposes you to so per day being normal, and the possibilities many faces and corrective situations. of going 18 to 19 hours per day.

Makeup applied in the morning needs to PRO TIP be maintained and many times reapplied thoroughout the day. It can be grueling I take one summer job in NYC each year and exhausting, but, we hope, creatively during my time off from the Met to hone fulfi lling. my skills at cranking out full makeups in 10 to 15 minutes, recalling my early days on With fi lm, there is a beginning, a middle, “the line” at San Francisco Opera, where and an end to the story, with the character’s we were trained to complete a full makeup movement (and makeup) throughout. In (on choristers and supers [supers are stage TV, there is a continuing story line, with the “extras”: nonsinging background artists]) same character movement (and makeup)— in 8 to 10 minutes. just a much longer, and sometimes —Steven Horak, Makeup Artist, seemingly unending, story line. Print shoots Metropolitan Opera House, New York City have a shorter day—8 hours is the norm— creatively driven by the Photographer, Art Director, and the client. On some exterior 86 BEAUTY AND BASICS intuition workbest. where yourtalents,personality,and great experience,andhelpfulindeciding “season.” Tryallmediaavailabletoyou.Itis every operahousemaintainingadifferent continuous throughouttheirseason,with six daysperweek.Operaschedulesare performance. Theatricalproductionswork two showcalls:matineeandevening and maintaintheshow.Somedayshave where youstartworkearliertodorepairs one dayperweekasamaintenanceday, three andfi ve hourspercall(orshow),with has “opened,”theshowcallsvarybetween opening theshow.Onceastageproduction this istherehearsalandpreptimebefore rehearsal schedule:10-to12-hourdays— productions canhavelonghoursintheir again inthelate-afternoonsun.Stage from themiddaysun,andstartshooting shooting inthemorningsun,takeabreak location shoots,theywillsplituptheday: (retinols). Ittakes timeandmoneyto should beusedonlyatnight beforebed and insomecases,treatment products makeup (sodoneathomebefore work), absorbed completelybefore applying and evening.Someproducts needtobe regime, whichneedstobedonemorning conditions anddevelopaproperskin-care reasoning thatittakestimetocorrectskin or theirdermatologisttocarefortheskin, artists believeitisuptotheindividualand/ care shouldbelefttotheindividual.These are MakeupArtistswhobelievethatskin Artists whenitcomestoskincare.There care. TherearethreetypesofMakeup attention MakeupArtistsshouldpaytoskin Opinions aredividedastothelevelof THE SKIN clear skin. correcting skin problemstoachievesmooth, background toworktoward thegoalof Makeup Artisthastheknowledge and is alwaystheoptimum,and thistypeof in “post”orthefi nal product.)Clearskin (If shootingdigital,therecanbecorrection dimensional imperfectionsarehardtohide. on thecamera,butwitha40-footscreen, diminished bymakeup,lighting,andfi or correctingdullskin.Acnecanbe diminishing breakoutsasmuchpossible being proactiveinthecareofskin,and fi Director—at completionoftheday’s term calledbytheFirstAD—Assistant and treattheskinatwrap.(“Wrap”is the skinbeforemakeup,aswellcleanse Artists willrecommendproductsandprep skin careknowledge.ThisgroupofMakeup so hasthetrendforarmingoneselfwith surgical proceduresadvancesandincreases, As thestyleoffi lmmaking, technology,and Artists willbemoreinvolvedinskincare. study ofskincare).ThisgroupMakeup who arealsolicensedaestheticians(the There isanothergroupofMakeupArtists and thatoftheirdermatologist. of theskinisindividual’sresponsibility time forabsorption.Forthisgroup,thecare products athome,whichgivestheproper application, havingalreadyappliedtheir show uptoworkreadyformakeup care andcleansing.Theywillexpectthemto maintain theirowndailyroutineofskin Makeup Artistswillexpecttheindividualto cannot bedoneinaday.Thisgroupof several weekstocorrectskinconditions—it for theindividual.Manytimesyouneed develop askin-careroutinethatworksbest lming.) TheseMakeupArtistsbelievein lters The last group of Makeup Artists falls in nonirritating cleanser—for example, between the two other types. This group Cetaphil Gentle Skin Cleanser. Cetaphil is will have knowledge of skin care and will a gentle facial cleanser that does not strip take the time to be current in products and the skin of its natural pH balance; it is an treatments for the skin, although they may Industry Standard. Using bottled water, or may not be licensed aestheticians. They if a sink is not available (trailer water is will prep, tone, moisturize, sunblock, and nonpotable, not recommended for the sometimes apply masks. They probably will mouth, face, or eyes), wet the washcloth do cleansing at wrap. It has become and put it in the microwave for one to two common to see a professional towel caddie minutes. If the towel is too hot, allow it to on the counter in makeup trailers (towel cool before using. This is the simplest and caddies keep wet towels warm for cleanup). safest way to cleanse the skin. Washcloths All the groups of Makeup Artists work with are a fantastic way to remove makeup and sunblock. We have a responsibility to clean the skin without harm. There are also 87 protect the skin in exterior locations. Your makeup-removal wipes. Choose one without choice of involvement will become your alcohol (alcohol is drying to the skin). Wash working style, and should be based on your your white towels in warm or hot water beliefs and education or knowledge of the with bleach for sanitation. skin. We do recommend that, regardless, you take the time to keep current with skin-care trends and makeup products PRO TIP throughout your career. If you do choose to make skin care part of your working style, Be careful with alcohol-based toners. please note that it adds time to your day, The alcohol strips the skin of its natural and some productions will not want oils and pH balance, causing the brain to overtime incurred for cleanup at wrap. signal the production of more oil to the surface of the skin in an attempt to bring back the balance to a “normal” pH. pH is PRO TIP the relative degree of acidity and alkalinity of a substance. Don’t dry the skin out! Anything glued or applied to the face, neck, or —Joel Garson, Milady’s Standard body by a Makeup Artist that needs a solvent Fundamentals for Estheticians, 9th ed. to remove must be removed by the Makeup Department. The time it takes to remove is “on the clock” (offi cial time of payment).

THE SETUP In order to get started, you need to “set up” There are actors and individuals who will your workstation with the proper products request and prefer that the makeup is and equipment. Every workstation varies removed at the end of each day. Have a with each Makeup Artist, but there are supply of clean white washcloths and a Industry Standards for setting up your 88 BEAUTY AND BASICS sanitizer (99percentalcohol)andbrush and toolsshouldbecleanready.Hand effective. Makeupbrushes,makeuppalette, strength ofalcoholmustbe99percentto batteries fullychargedorpluggedin.The current, ingoodcondition,withall makeup kit.Yourproductsshouldbe quickly judgedontheconditionofyour on thecounternexttothem.Youwillbe makeup. Someartistskeeptheirmakeupkit reasons andeaseofmovementduringa should becleanandorganizedforsanitary how yourkitissetup.Yourmakeup look atyourstation,products,and when workingwithnewpeople.Theywill This isoneofthefi rst momentsofcritique individual whositsinyourmakeupchair. ready togo,instillsconfi dence inthe tools, equipment,andproducts,clean Having yourstationsetupwiththeproper looking at(Figure7.1). to another,nomatterwhosestationyouare will beconsistentfromoneMakeupArtist station, withstationsetupandproductsthat member ofLocal706,LosAngeles. Photo courtesyofDebraColeman, MakeupArtistand FIGURE 7-1:DEBRACOLEMAN’SMAKEUP STATION source ofclean waterforworkingonthe Canned spraywaterisapreference. Itisa Hand Sanitizer. Roche-Posay ThermalSpring Water,Jao Water Spray,GlacialSprayWater,La Industry Standards:EvianMineral sanitizer, spraywater. cleaning brushes,handwipes,gel spray anddispenser,smallbowlorjarsfor Sanitizing products:99percentalcoholina individual. drape available.Plasticishotterforthe makeup youaredoing,alsohaveaplastic for theindividual,but,dependingon makeup. Clothdrapesaremorecomfortable protecting clothingorcostumesduring have aclothdrapeorbarber’scapfor bag closebyfordisposingofgarbage.Also person. Makesuretohaveagarbagecanor brushes, tools,andhandsinbetweeneach two-layer setup.Cleanyourstation,makeup tools, andbrusheswouldgoontopofthis clean andgermfree.Yourmakeuppalette, your productsandbrushesoffthecounter, Standard). Thisisasanitarysetuptokeep Professional SetUpTowelsaretheIndustry top ofthecottontowel(Kimberly-Clark of youwithaProfessionalPrepTowelon bleach them)placedonthecounterinfront prefer whitetowelsonlybecauseyoucan clean cottonterrytowel(colorsvary;many A typicalsetupforamakeupstationis disinfectant. Protection Agency)–registeredhospital-grade Note: AlcoholisnotanEPA(Environmental reach. cleaner shouldbeoutandwithineasy face and around the eyes. There will be times when you do not have running water, and you will rely on your canned spray PRO TIP water for a clean source of water. There are a million ways to do anything. Find the one that works for you. Grooming equipment: shaving powder, —Randy Huston Mercer, Tend Skin (Industry Standard), electric New York Makeup Artist shaver, sideburn trimmer (Industry Standards: Wahl, Panasonic), clippers for beard trimming (Wahl), small hair scissors for trimming, nose-hair trimmers CONCEALING AND CORRECTIONS (Panasonic), disposable shavers, shaving Mastering the art of concealing for all skin cream. tones and skin types, such a vast variety, will come easier to you now that you have 89 Nail care: nail clippers, cuticle trimmers, studied color theory and foundations. nail fi les and orange sticks (do not share nail fi les/or orange sticks—buy in bulk and You will use color theory to cancel out reds, give out), cuticle remover, cuticle cream, blue, grays, greens, and any other unwanted hand cream, base coat, top coat, quick-dry color or undertones in the skin, as well as spray, various nail polish colors, non- blemishes, scars, birthmarks, and tattoos. acetone polish remover. Concealing can be done under or over the makeup foundation or base, except for Kleenex facial tissue, cotton facial pads birthmarks, port-wine stains, and tattoos. (cotton only, due to possible allergies to These require full coverage, and should be synthetics), Q-tips, cosmetics Q-tips (the done fi rst. tips are different, made for applying makeup), your makeup brushes, makeup products, and cosmetics. PRO TIP

Note: this is a very basic setup. Every Corrective makeup is a fi ne convention if Makeup Artist personalizes their station, so it is used realistically in the company of no two look alike, but they will have some great lighting. Makeup does not generate of the same products/equipment or Industry light. Makeup only refl ects existing light. Standard products. Makeup cannot get rid of eye bags if they cast a shadow. Makeup cannot light an It is time for practical experience with eye socket if it is in the dark. Makeup can- applying makeup. For some of these not disguise pockmarks in a side light. makeups, you will not be given steps —Richard Dean, Makeup Artist, to follow, just text. For others, you will New York City be given steps. Time to think, and paint. 90 BEAUTY AND BASICS discoloration. Yoursecond color is on thecolorwheeltocancel outthe For yourfi rst color,usetheoppositecolor technique toapplycolorover eachlayer. undertone. Youwillusethe stipple through thecover-up,usuallyinagray through. Sometimesacolorwillbleedup color completely,withoutanybleed- layering ofcolorallowsyoutocancelout before applyingamakeupbase.This process forcompletecoverage.Thisisdone tattoos, youwillneedatwo-tothree-layer For birthmarks,port-winestains,and pigment forcamoufl use adenserproductor100percent severer thediscoloration,moreneedto application, underbaseoroverbase.The will helpyouchoosetheproductand Your styleandwhatyouhavetocover skin—it dependsonwhatyouarecovering. medium, ordense)willworkonthefacial Note thatalltypesofconcealers(light, choose aproductthatismediumweight. For concealingorcorrectionontheface, Éclat, Iman,LauraMercier,NARS. Industry Standards:Kanebo,YSLTouche emphasize thecorrection. eyes, whichcanbedryingandmay powder. Avoidusingpowderunderthe application, thebetter.Donotsetwith amount oftugandpullorstressfrom delicate skinaroundtheeye.Theleast the eye.Theyglidesmoothlyonto that aregreatfordiffusingfi ne linesaround emollient, andmanyhaverefl area. Theseproductsarelighter,more that isemollientanddesignedfortheeye For under-eyeconcealing,chooseaproduct aging. ective qualities ective makeup (tryLauraMercierTinted to evenouttheskinwithout lookinglike A tintedmoisturizerworkswell inthislook and vibrant.Remembertostrive forrealism. blemishes, andmaketheskin lookhealthy any discoloration,coverscarsor the skintonetoshowgoodhealth.Correct You willspendmostofyourtimeenhancing want toshowgoodhealthandappearance. requests) a“naturallook”formakeup,you When thecharacterneeds(orDirector NATURAL MAKEUP Dermablend. Try: DermacolorbyKRYOLANand sheer, andaredesignedforcamoufl are 100percentpigment.Theynot wine stain)orink(tattoo).Theseproducts for thosesituationswithintensecolor(port- the fl esh tone. Thisis100percentcoverage neutralize thegray,andyourthirdlayeris color. Yoursecondlayerwillbeto these situations,youneedthreelayersof your eyeandinthemakeupmirror.In through thecorrection.Youwillseeitwith there willbeagraybleedortonecoming through fromthefi rst layer.Manytimes to canceloutanygraybleedcoming second layerisamauve(red)ororangetone or (b)ifthreelayersareneeded,your your secondlayerisamatchingfl needed: (a)ifjusttwolayersareneeded, dependent onhowmuchcoverageis Simplicity istheultimatesophistication. —Leonardo daVinci esh tone, esh aging. Moisturizers). This is also a great choice for Blend down past the jawline under the chin men and children. An alternative is to mix a area. You want to avoid any lines of small amount of oil-free moisturizer (try All demarcation or “the mask” look to the face. You Need+ from Prescriptives) with your Once the skin is looking healthy and liquid or cream base. This will give you a vibrant, you need to add color to the sheer coverage that does not look overdone. cheeks, and bring attention to the eyes, lips, If you need a bit more coverage, use a liquid and eyebrows. For a natural blushed effect, or cream without mixing moisturizer into it. place cheek color in the apple of the cheeks, In situations where the actor’s skin is good either cream or powder. Reds, pinks, and and does not need a base or foundation, use peaches are best. the “spot paint” technique to balance out the skin tone. Spot painting is the technique of literally painting with makeup or concealer just the area or “spot” that needs it. Do not PRO TIP 91 overapply or bring the makeup too far into “Always put blood back into the face after the surrounding area of skin. You want to completing a makeup.” paint just the specifi c spot. KRYOLAN’s Taught to Steven Horak by Dermacolor (an Industry Standard) Lenna Kaleva, Cincinnati works well with spot painting. It is noncomedogenic, and gives you dense, full coverage (camoufl age) that you can feather or blend the edges with your makeup brush. Bringing It “Back to Life” Set with just a hint of powder: not too much, and Keeping Makeup From or the area will look dry. You can forgo the Looking Too Masklike powder if needed, but you will have to reapply or touch up if you do not set the “Bring it back to life” is another makeup makeup. Use Face to Face Supermatte slang term you will hear to refer to almost Antishine by Make-Up International (an all makeup applications. If something is Industry Standard) to take down any shine looking dull or lifeless, you will be on the other areas of the face. For more tips instructed to “bring it back to life.” This can on spot painting see “Spot Painting” later in happen with concealing as well. this chapter. Next, accentuate the eyes by adding any needed defi nition without doing a full Remember to match the foundation or base beauty makeup. Choose soft browns, to the skin at the jawline. This helps to taupes, or gray to defi ne the lash line using balance the tone in the neck and face so pencil or powder. We do not suggest liquid you are working with as little product as liner for the “natural look”—your hand possible—remember, this is the “natural needs to be very skilled. Place the line right look.” The skin on the face is much on the base of the eyelashes. Remember, different in tone and texture from the neck. you are defi ning the natural line to add 92 BEAUTY AND BASICS control overtheapplicationandcanreally fans aregreatforthislook—youhavemore apply athincoatwithmascarafan.Mascara long. Ifabrownorblackmascaraisneeded, also agreatchoiceifthelashesarealready and usemascaraifneeded.Clearis product (IndustryStandard:shuuemura), the eyelashesaddslengthwithouttoomuch Again, averysubtlehandisneeded.Curling soft brownsortaupesintheeyecrease. beiges, andpinkstoevenoutthelid.Choose use alightercoloralloverthelidincreams, If youdecideabitofeyeshadowisneeded, excellently onmen. noticing theliner.Thistechniqueworks a greaterorstrongerlashlinewithout dotting incolor,youcreatetheillusionof bottom, insteadofdrawingaline.By of colorintothelashline,bothtopand Trick: usethe“dotmethod”byplacingdots want athickline. defi nition, notdoingeyeliner,soyoudo dozen. tube! Disposablewandscome bythe No double-dippingofthewandinto sanitary. cara fan,andkeepsthetubeofmascara eyes byusingdisposablewandsoramas- allows youplentyofproducttodoboth pull offmascaraontothewaxpaper.This Using thewandfromtubeofmascara, Dispense mascaraontoartist’swaxpaper. PRO TIP the “naturallook.” obvious enhancementofmakeup. Again,it’s needs tobesubtleandclean withoutthe appearance ofgoodhealth. Your technique Keep thefocusongiving individualthe gloss orheavyshineonmenchildren. too muchglossforthislook.Donotuselip looking too“lipsticky.”Thereshouldnotbe the colorandattentionneededwithout use alippencilwithmoisturizertoget stains, tintwithamatteorsheerlipstick, just enoughcolortoblushthelip.Uselip Keep themouthlookinghealthybyusing not looknatural. much inthislook,andyourmakeupwill darker thantheyappeartotheeye.Too Medium todarkbrownswillphotograph work wellanddonotphotographtoodark. Stacolor, ReelColor.Taupeandsoftbrowns Try: Roux(TweenTime)StickbyRevlon, because oflackhair. on someone’sbrowthatisinneedoffi skin. Thisisgreatonmen.Itwillnotwork apply colordirectlytothehairandnot the skininthislook.Usingamascarawand, paint theeyebrowhairinsteadofpainting degree angleforsimilarhairgrowth.Trick: brushstrokes (orpencilstrokes)ina45- brows inthe“naturallook.”Useshort Care mustbetakewhenaddingcolortothe adding atouchofcolorforshapeandfi grooming theeyebrowsand,ifneeded, Bring subtledefi nition totheeyebrowby coated. define thelashes,butnotmakethemlook Barbara). Remembertoapplymascara product (WeRecommendBrushUpWith get beautifullasheswithouttoomuch lling ll. unwanted marks are painted out with a concealer, Dermacolor, Stacolor, or even foundation. The product you choose depends on what is to be covered. Spot painting is a part of concealing and correction, but in this case, we use it to replace foundation or base. Example: You are instructed by the Makeup Department to “just spot paint” your actor. FIGURE 7-2: They do not want makeup base applied. They want you to just spot paint correction on clean skin, and only in the needed areas. This is widely used on men, children, and for all situations where you do not want to 93 see any makeup. It has become an Industry Standard. Stacolor and Reel Color can be used in spot painting when the makeup needs to be waterproof, sweatproof, or friction resistant. Like necks so color does not come off on shirt collars. Working with the individual’s clean skin, apply a sunblock fi rst if working outdoors, concealing only where needed, and matching the concealer to the skin tone. The concealer or makeup is concentrated only on the spot or area that needs FIGURE 7-2A correction. Blend or feather out onto the skin, being careful not to overpaint or bring the edges too far onto the surrounding skin. SPOT PAINTING You just want to paint the specifi c spot. If the actor’s skin tone and condition are Dermacolor (by KRYOLAN) works well with good, then no foundation or makeup base is spot painting. It is noncomedogenic, and needed in the “natural look.” Instead, you gives you full coverage (or camoufl age) will choose to “spot paint” the face and not that you can feather or blend onto the apply a full application of foundation or surrounding skin with your brush. Choose a makeup base. Spot painting is the technique makeup brush that is small in size to of literally painting out unwanted color prevent overpainting. Set the makeup with from the face or body. Any spots or very little powder. Too much powder on 94 BEAUTY AND BASICS correction): For two-colorapplication(for strongercolor Withabrush,applyconcealeror 2. Prepskin(ifneed)forallapplications. 1. Single-color application: applications. layer, double-layer,ortriple-layer are covering,youhaveachoiceofsingle- working outdoors.Dependingonwhatyou sunblock aspartofyourprepwhen It isrecommendedthatyoualwaysusea STEPS TOSPOTPAINTING and tattoos. broken capillaries,blemishes,birthmarks, You canalsousespotpaintingtocorrect medium, anddarktones. Supermatte Antishine,availableinlight, something tostickto,sooncleanskin,use powder tocutshine.Powderneeds with theexceptionof“spots,”donotuse the skin.Becauseskinisbasicallyclean, Industry Standard)totakedownshineon Antishine byMake-UpInternational(an painting aface,useFacetoSupermatte bare skinisdrylooking.Whenspot powder. check tomakesureitisblended. Lightly for theareayouarecorrecting,and makeup brushthatisappropriateinsize matching totheskintone.Choosea Dermacolor tothediscoloredarea, the camera. If itisobvioustotheeye, 2. Apply fi 1. Prep skin. port-wine stains,tattoos,orgraytones): For three-colorapplication(forbirthmarks, 4. Lightly powder. Layersecondmatchingskintonecolor 3. Withabrush,applyconcealerusingthe 2. 1. Prep skin. applied tomostapplications. makeup, effects,andprosthetics, butcanbe It isneededinspotpainting, character any layersofmakeupthatare beingapplied. and-down motionprevents the removalof brush, sponge,ortexturedsponge.Thisup- downward motionofapplicationusinga The stippletechniqueisanup-and- 5. Lightly powder. Layerthethirdcolorinamatchingskin 4. Applysecondneutralizingcolorby 3. on top,overtheneutralizingcolor. (See Chapter3:Color.) cancel out(neutralize)thediscoloration. opposite coloronthewheelto gone? your coverageinthemirror.Isgray tone overcolorsoneandtwo.Check it withamauve,red,ororange. see itwithyoureyeandinthemirror.Cut through thecorrectioncolors.Youwill “go gray.”Thisgraytone“bleeds”up and intensecolorswillhaveatendencyto from thefirst layer.Inks,grayundertones, This cutsanygraythatisbleedingup orange overthefirst neutralizingcolor. layering orstipplingamauve(red) discoloration. opposite coloronthewheelto rst neutralizing color,the We want to stress how important it is to Unfortunately some individuals will look in master the art of natural makeup and spot the mirror and want symmetry. If you are painting before moving on to beauty working on a fi lm, sometimes a gentle makeup. Practice on your models, your reminder that the camera loves irregularity friends, and family. Practice until you believe will help, but often you will have to it. Take photos and critique your work. accommodate individual insecurity and vanity. Every situation is different.

Beauty makeup should accentuate and not overwhelm. It is not a mask, or unnatural In fi lm, beauty makeup is character make- looking. Accentuate the positive, without up. Every makeup begins with the text. re-creating the face. In the beginning of Makeup is simply one of several languages fi lm, the custom was to blank out the face used to elaborate and illustrate text. Based and to paint back in the desired features. 95 on the text, we make all sorts of decisions: This is no longer the custom or trend. the character’s physical well-being, social Reality is the accepted beauty aesthetic. and fi nancial status, level and condition of vanity, and inclination to spend time in front of the mirror. —Richard Dean, New York Makeup Artist We no longer do makeup by the pound. —(See Chapter 8 on Design) —Randy Huston Mercer, New York Makeup Artist

BEAUTY MAKEUP Beauty makeup in fi lm and television has Beauty does not stop at the face. You also many layers to it. You are accentuating the have to do necks, hands, arms, legs, and—if face as well as adding character and needed—the full body. The skin should background. We will go into more on appear healthy—in some cases, glowing. designing characters in the next chapter. Bring attention to the eyes, defi ne the Beauty does not have to mean symmetry for eyebrows, and add color to the cheeks and fi lm or the camera. The camera and the lens lips. The eyes can captivate, and are generally love irregularity. There will be jobs where everyone’s best feature. If you cannot see the you work for symmetry, and an equal eyes, the audience loses interest, so eyes play number where you do not. This does not an important role in all media. apply to video, HD, theatre, or to the retail world. These are media that will require symmetry. You will adjust your makeup RICHARD DEAN’S TIPS ON BEAUTY designs and application for the medium you 1. Begin with a foundation primer and any are working in. eye shadow primer. Apply with a 96 BEAUTY AND BASICS . Iuse eyelashesforcharactereffect. 5. Powderwithayellow-basedpowder, 4. Cheeksaretypicallyabluishpink, 3. Liquidoroilfoundationappliedwitha 2. foundations andcolorcosmetics. will createamoreevensurfacefor retards waterevaporationfromcells,and have moisturizingeffectsinthatit foundations irregularly.Aprimerwill oil distribution,andwillaccepthold sponge. Areasofthefacehaveuneven the dayifneverblotted. foundation thatgetsheavier throughout creates anotherlayerofakind Natural oilproductionpluspowder oil aspossiblewithblottingpaper. more powder.Removeasmuchnatural progresses, trytoblotbeforeadding the foundation’sfi nish. Astheday sense ofdepth,andthereforereality,to The pink-yellow-redlayerimpartsa then addpowderedblushonthesurface. fl approximate thepalestIrishskinwith depending onthesituation.Example:to may beverysubtleorquiteheavy, the bridge(nottip)ofnose.This toward thejawlineandaddatouchto drag creamblusherdownslightly source ofcolor.Foranaturalcheek, never brown.Thinkbloodvessels,the they naturallyoccurintheskin. the foundationwithcreamrougesas (spot painting),andaddpinkertonesto foundation sparingly,dospotcoverage natural looktotheskin’ssurface,use foundation brush.Tokeepamore ushed cheek. ushed to critiqueplacementandstyle. of astraightlineinthecrease? Takephotos much colorintheinsidecorner? Toomuch consistent incolor,ormuddy?Istheretoo defi balanced, ordrooped?Isthereenough situations. Doestheeyelookopenand to correctandcheckyourworkinall is “workingoffthemirror.”Youwilldothis mirror tocheckandcorrectplacement.This placement. Haveyourmodellookinthe Start withbrownsuntilyouhavemastered open towhatlooksgoodontheperson. eye crease.Placementiskey,colorchoice applying brownsorgraysbluesinthe lid. Next,defi ne theeyestructureby shadow incream,pink,beiges,alloverthe eye shadowbrush,applyabasecolorof fi helps theshadowlast,andgivesasmooth lid. TryPaulaDorf.Thisprepstheeyelid, applying aneyeshadowprimeralloverthe Practice theartofeyeshadow.Startwith person. ability todealwiththeuniquenessofeach mistakes aswellgetitrighttohavethe develop yourtalent.Youneedtomake and handneedthepracticalexperienceto eye colorandshapeaspossible.Your colors withasmanymodelsvarietiesof Practice eyetreatmentandcombinationsof stylistic anddramatic. eye” fortheglamourmakeupsthataremore a rangetoworkfrom,butsavethe“smoky depend oncharacterandsituation.Thereis brought totheeyesandeyebrowswill In beautymakeup,theamountofattention nish for eye shadowapplication.Usingan nition? Istheapplicationsmoothand changing eyebrows is a great tool in character design and altering a look. The level of intensity and style of the brows will come from the character or situation. Brows should have a natural, unpainted look when doing a “beauty look” or “natural look.” Glamour makeup has all the drama, with a precise shape to the eyebrow that is obviously drawn or painted on. There are several ways to shape brows using different products: brow pencil, brow creams or shadow, eye shadow, temporary hair color, Stacolor or Reel Color.

Choose colors that are close in shade to the 97 eyebrow or slightly lighter. Remember, FIGURE 7-3: EYE FROM STUTTERBOX browns photograph darker. For a realistic brow, use two colors, to ﬁ ll in or shape.

You can use brow pencils or brushes. If choosing brushes, pick a brow brush with stiff bristles that are cut at an angle (try Cargo’s brow brush).

PRO TIP Use a combination of brow pencils to shape, and brow powders to ﬁ ll in or soften the pencil work. Follow over the completed brow with a cream or light-colored eye shadow to fade your work.

FIGURE 7-3A: Find the brow shape by taking the handle of a makeup brush and laying the handle BROW SHAPING gently on the face vertically. Starting from Brow shape conveys a number of emotions the inner corner of the eye at the nose, and expressions, and is a focal point on the point straight up toward the brow. The face (Chapter 1: Shapes). We use brows to general rule is to start the brow at the inner draw attention to the eyes. Shaping and corners of the eye (or one eye length 98 BEAUTY AND BASICS your scissorsat anangle,trimminganyhair trimmer. Combthebrowhair upward,with directions forthecareandcleaning ofthe running well.Followthemanufacturer’s works). Keepeverythingclean, sanitary,and comb (amustacheor browcomb round-tipped scissors,andasmall-toothed small trimmeronhand(Panasonic), a regularbasis,particularlyonmen.Have on thehead).MakeupArtiststrimbrows Brows alsoneedtrimming(justlikethehair brows! also starttofl ake overtime,socheckyour adjust yourworkaccordingly.Sealerscan brow. Sealerscandarkenthebrows,so brows. Applyafteryouhaveshapedthe Brow sealerscanbeusedtotameunruly depending onyourhandandeye. brow pencilaloneorpowdersalone, too harshfromthepencil.Youcanuse shade, andgooverorfi ll inareasthatare technique, addbrowpowderinalighter the browpencilandpowder much, justwhereneeded.Ifyouareusing different colors.Remembernottofi ll intoo way, fi lling andshapingwhereneeded.Use hair grows).Movealongthebrowinthis or 45-degreeangle(dependingonhowthe use light,shortfeatherstrokesinanupward Start withtheinsidecornerofbrowand the browthatyoufeelneedsshaping. take apencilandlightlymarkanyareaof should end.Forthebeginningbrowartist, 1 be, andsometimeisnot.Approximatelya the arch,orwherenaturalarchshould to thebrow.Thisisyourhighestpointin outside oftheiriswithhandlegoingup handle vertical,gentlylaytheon between eacheye).Next,withthebrush / 2 inchfromthearchiswherebrow to cuttoomuchinonepass. make severalpassesduringtrimmingthan you havethedesiredresults.Itisbetterto that istoolong.Workalittleattimeuntil current trends.Experimentwithdifferent individual features,characterportrayal,and situations. Placementdependsonthe that workwiththeskintone,costume,and Blush thecheeksandlipswithcolors er’s directionsonhowtouseaproduct. shooting. Alwaysfollowthemanufactur- eral daysbefore,oratleasttheday day asshooting.Thisshouldbedonesev- not somethingyouwoulddoonthesame looks. Lighteningisasimpleprocess,but This processisgoodforcontinuityand naturally darkbrowsandlightenthem. Facial-hair lightenersareusedtotake PRO TIP the browneedstobeblocked. brow coverwhenonlyasmallportion of blemishes, butalsoasasuccessfuleye- only worksbeautifullyondarkcirclesand makeup thatIdo,andsomemen’s.Itnot it underthefoundationofeverywomen’s Lauder SmoothingCremeConcealer,using I verymuchdependupontheEstée PRO TIP —Steven Horak colors and placement on your models to see the effects of color, placement, and shapes on the cheeks and lips. Refer to Chapter 1: Shapes.

GLAMOUR MAKEUP Painted perfection, beautifully sculpted. Use your imagination with color, boldness in application, and dramatic placement to create a stylized look that is glamorous. Depending on the design or look you want, start with blanking out the face with a ﬂ awless foundation that has complete 99 FIGURE 7-4: PHOTO OF GLAM FROM SHUTTERSTOCK

FIGURE 7-4A: 100 BEAUTY AND BASICS and powderit. beginning, sogoforit,workbutblendit experimentation andpracticeinthe painted). Youwillneedplentyof known as“beattheface”(makeupslangfor and texture.Thislookis“thefullslap,”also working withmoremakeup,bothincolor and hastobewellblended.Youwill should beboldinapplicationandcolor, with shineorgloss.Glamourmakeup full shapeusinglippencilsandlipstick;top add tothedrama.Makelipslusciouswitha and usingfalseeyelashes,witheyelinerto color. Considerpaintingintheeyebrows eyes andeyebrowswithboldshapes contour andhighlight.Adddramatothe desired featuresusingbeautifullysculpted coverage withcorrection.Re-createthe Lashes (www.eEyelash.com). Exotic/decorative/fantasy lashes: Elegant in mostdrugstores. eyelashes, Ardelleyelashes. All areavailable (available inblackandclearwhite),Andrea Industry Standards:DUOeyelashadhesive and designs. lashes arewonderfulintherightsituations makeup designallows.Decorativeorexotic black. Gofortheflair andbeasboldthe productions, chooseaheavierstriplashin glamour, fantasy,stylistic,ortheatrical delicate striplashinbrownorblack.For An alternativetoindividuallashesisa which comeinseverallengthsandstyles. beauty makeup,useindividuallashes, and beautytotheeyes.Forsubtletyina lashes areallgreatforbringingattention Strip lashes,individualandexotic FALSE EYELASHES are wellcared for. days onthesameactorwith onepairifthey reshape itonatray.Youcan getseveral Clean offgluebypulling thestrip,and fi of thefalselashwithyourthumbandindex done fromtheoutsidein.Pinch Removal offalseeyelashesshouldalwaysbe your handsandsteadiness. successful theapplicationwilldependon the falselashestobaseoflashes.How tweezers, andasoftgluebrushforsecuring or hands,acombinationof glue. Applicationcanbedonewithtweezers not wettheQ-tip,cottonwillstickto case youhavegluedtheeyeshut.Ifdo lashes. HaveaslightlywetQ-tipreadyin gently pressthestripontobaseof the baseoflashes.Witheyeclosed, Center thefalse-eyelashstriponeyeat much glue,asyoucangluetheeyeshut. lashes. Alwaystakecareinnotusingtoo brush. Thisworkswellwithindividual thin brush.Thisbrushwillbecomeyourglue then applyathinlineontothestripusing makeup paletteorwaxpaperpalette,and put asmallamountofglueontoyourclean glue totheeyedirectly.Analternativeis line ofgluetothestriplash.Neverapply After checkingthefit andstyle,applyathin style withtheeye.Thisistimetochoose. individual, youarelookingforlengthand the stripfromoutside.With is thefit? Removeandtrimanyexcessfrom or individualonthebaseoflashes.How strip. Withoutusinganyglue,placethestrip from theoutsideintopreventdamage Always removestriplashesfromthetray Before applyingeyelashes,checkforsize. nger, andgentlypullintowardthe nose. PRO TIP Curl the eyelashes and apply mascara fi rst. Apply false eyelashes. After the glue has set (one minute), “marry” the real lashes with the false-eyelash strip by combing more mascara to combine them together.

MEN AND CHILDREN

Script, circumstances, and skin condition 101 will dictate your choices with makeup for men and children. In most cases, you would FIGURE 7-5: PHOTO OF MAN STUTTERBOX not want to see any makeup. Healthy skin tone, defi nition, and believability to the eye are key. Spot painting is recommended for face and hands, dry lips, and scrapes and both. Additional defi nition to the eyes and bruises. Use Chap Stick so the lips are not eyebrows for men is noted in the section too shiny. Make it fun for them with “Natural Makeup.” fl avored Chap Stick. Bronzers and tanning products are also recommended for men. Men’s grooming BODY MAKEUP should be addressed fi rst before applying Body makeup fi nishes and smoothes out the any sunblock or makeup. Check for nose color of the skin. Even a sheer coat of body hair, ear hair, unruly eyebrows that need makeup will give the skin a beautiful fi nish trimming (unless the character calls for that photographs better than skin would if unruly), shaving mistakes, sideburns, clean. It polishes the skin for a beautiful and nails. It is always best to get all the look. Usually opaque body makeup covers trimming done in the makeup trailer. Use veins, stretch marks, age spots, and lip moisturizers that are not shiny. Try discolorations. Sometimes you are doing Chap Stick. just the neck and hands; other times, Talk about sunblock with the parent or full leg, back, and chest, on men, women, guardian of the child. Has sunblock been and occasionally children. Widely used applied? It is extremely rare to do a full in all media, liquids are favored for their makeup on a child. There might be spot fi nish and are formulated for the body. Most painting of a mark, or sunblock might be come in water-resistant, sweat-resistant needed for a child. Check for dry skin, dirty formulas. 102 BEAUTY AND BASICS Start withapplyingsunblockfi Ever, M•A•C. Industry Standards:Visiora,MakeUpFor will giveyoutwototry. There areseveralwaystocover tattoos.We go on. reasons situation.the the for appropriate real tattooandwantssomethingmore character, iftheDirectordoesnotlike many reasons:ifitdoesnotworkwiththe millions oftattoosinyourcareerforso Tattoos areeverywhere!Youwillcover COVERING TATTOOS in Chapter10. Body makeupusinganairbrushiscovered removing tissuefromclothing. with thepuff.Allowtimefordryingbefore large powderpuff.Buffoffexcess color” powderortranslucentand tissue toremoveexcess.Powderwitha“no- demarcation. Letdry.Gentlypresswith even applicationandnolinesof needed, mixwithbodylotion.Checkfor brush, oryourhands.Ifasheercoverageis skin withaseasponge,largefoundation You canapplybodymakeupdirectlytothe the clothing. Department willappreciateyourprotecting clothing coveringtheskin.TheCostume applying bodymakeupwherethereis clothes toprotectfrommakeup.Avoid clothing. Placetissueinallopeningsof area oftheskinthatisnotcoveredby needed, andallowtimetoabsorb.Knowthe rst, if rst, . LightlymistwithBenNye’sSealer, 5. PowderwithNo-Coloranda 4. Stipplethethirdlayerofappropriate 3. StippleDermacolorD31(orD32, 2. Withasyntheticprecutsponge,coverthe 1. palette, anIndustryStandard. method usesKRYOLAN’sDermacolor those momentsofneedandnotime.This kit—and Dermacolorshouldbe).Itisfor (makeup slangforusingwhatisinyour prep involved,working“outofyourkit” This isthefastanddirtymethod,withno QUICK ANDEASY overspray! coverage whenspraying.Do not holding thespray12inches awayfrom powder pufforcleansponge. giving completecoverage. Dermacolor tomatchskintone,again blue andblackink. coverage. Thegrayiscomingfromthe the fi rst color, andgivescomplete prevents grayfrombleedingupthrough fi depending oninkcolors)overthe the helpoflightingfordimension. the ink,butnotdimension.Youneed process. Youwillbeabletocamoufl to themfromthetattooing/scarring some tattooshaveadimensionalquality therefore needscompletecoverage.Note: color tostartcancelingouttheink,and just tocovertheartwork.Thisisfi it. Youdonotwanttoomuchoverlap, tattoo itself,andnotontheareaaround B (green).ApplytheDermacoloron tattoo completelywithDermacolorDred rst layer of Dermacolor.Thiscolor age rst airbrush and compressor (all items are Industry Standards). PRO TIP No matter what approach you will take for If the coverage looks good, but a bit dull or tattoo cover-up application, you will lifeless, take a dime-size amount of body commonly prep the skin by cleansing it with lotion rubbed into the palms of your hands, an astringent of your choice. Doing so and pat onto the coverage. This “brings life” removes dirt and oil, and slightly dries the to the skin by adding moisture back without skin for better adhesion of makeup and affecting the makeup. Remember to pat— paint. not rub—and use sparingly. In some cases, Depending on the size of the tattoo you are red needs to be stippled over the completed covering, you may choose to airbrush or coverage to bring back life to the skin. paint it out using your makeup brushes. This happens with the larger designs that you Either way, the colors you choose to use 103 have to cover. Use a textured stipple sponge should remain the same. I like to think of with red for this, and do so sparingly to break this as though you were painting an opaque up the color. prosthetic (foam). The idea is to have a color that is not conducive to looking real, and it’s attached to the skin. Your job is to make it imitate clean skin, and to blend by painting. When I say paint, I mean paint as though TATTOO COVER-UP STEPS you have a blank canvas. by Christien Tinsley of Tinsley Transfers, Inc. 1. First, you need to start by blocking out all color of the tattoo. I like to go with a In order to set up a tattoo cover-up, I fi rst meaty red-orange color fi rst. Paint the like to prep my workstation. Materials I have color solid over the whole tattoo, right to with me at all times when doing a tattoo- the edge, and then blend and feather it out cover application are: astringent to clean the 1 only about a /2 inch from the edge. This skin, cotton pads, shavers (electric and not only helps block out the blues and razor), shaving cream, scissors, adhesive blacks used in most tattoos, but also gives (Pros-Aide), latex sponges, tissue, spray you an undertone to your fl esh colors. bottle (water), No-Color powder, powder puffs, Q-tips, 99 percent alcohol, brushes, 2. Next, go in with a natural fl esh tone that sealer (Ben Nye’s Final Seal), hand towels, is about one shade lighter than the Isopropyl Myristate, Supersolv lotion (body, actor’s own skin tone. Stipple this color hand, or face), Anti Shine, Mac Crème Gloss over the surface—making sure it has Brilliance, tattoo palettes in fl esh tones and solid coverage, but with variations of primary colors; I use Skin Illustrator, Reel transparency. Color, W.M CREATIONS, airbrush tattoo 3. Add yellows, blues, or greens to the skin colors from Skin Illustrator, Derma Palettes, to adjust the color by graying, cooling, 104 BEAUTY AND BASICS comfortable totheskin.Gently rubthe Warm themixturetoatemperature Myristate andSuperSolvin a 50/50solution. For removaloftattoocover, mixIsoproply away. match andfi ll inareasthathaverubbed minor repairs,havepremixedcolorsto you havetoremoveandreapplyonset.For paints andmakeupcolorswithyouincase For on-settouch-ups,alwayshaveyour look. Thiswillbreakdownthecover. of yourtattoocoverforawetorsweaty Note: Neverputoilssuchasglycerinontop Afteryouaredonecoveringupthe 4. will beusingredsandsometimesyellows. When workingondarkerskintones,you of thebodyhassamedegreewarmth. you wraparoundthebody.Noteveryangle Adjust theshadeofyourtattoocover-upas together. browning oftheskincantielookall the skintones.Frecklesandoccasional capillaries andnaturalblushcolorsfoundin already paintedtobringouttheeffectsof Lightly applyahotterredtothesurface Details: are lookingfor. should giveyoutheoverallmatch or warmingthepaintedarea.This or water-basedproduct. over thesurface,canhelp.Usesilicone Flesh-tone tattoopaints,lightlyapplied over thesurface.Trytoavoidpowders. is alittletooshiny,addantishine surface willhelpprotectit.Ifyourimage tattoo, athinsprayofsealeroverthe “Stipple somecolorintohis cheeks”—they is iftheMakeupArtistyouare assistingsays, vocabulary. Anexampleofthis terminology It ispartofthemakeupindustry’s well astodescribesponges and application. Stipple isalsoatermusedfortechniqueas and muchfirmer thantheorangeones. more elastic.Blackstipplespongesarecoarse stipple spongesaresoftertothetouchand density fordifferentstipplingeffects.Orange sponges, availableindifferentguagesand sponges. Stipplespongesaretextured You willalsobeworkingwithstipple palettes inyourmakeupkit. continuity. Youshouldhavealloftheir and invaluableforrealisticeffects makeups thattheyareIndustryStandards for doingsomanydifferentkindsof do notruboffonclothing.Theyaregreat resistant, easytouse,cleanoffquicklyand activated byalcohol,arewaterandabrasion beard stipple.Theseproductsareall easier toachievealasting,waterresistant, Products maketheMakeupArtist’sjobalot Skin Illustrator,Stacolor,andReelColor product andstipplespongesinyoursetbag. set, soalwayshaveyourfavoritestipple It issometimesrequestedlastminute,on technique thateveryMakeupArtistsknows. glued ontotheface.Itisabasic,easy,fast few daysgrowthwithoutusinganyrealhair done toshowa“fi ve o’clock”shadowora Painting orstipplinginbeardgrowthis FIVE O’CLOCKSHADOW all solvent. with adampenedhothandtoweltoremove motion ontheareatobecleaned.Follow remover withapowderpuffincircular would be asking you to use the technique of coarseness and sometimes by hand with stippling to add color to the cheeks with an round natural bristle brushes in varying up and down motion using a sponge or sizes. brush. It is not complete coverage; it is Occasionally, I’ve used a dye brush and varied and inconsistent. The up and down thumb technique splattering the stipple for motion is done with a light touch, using the an uneven look, then going in and removing wrist in a tapping motion. This gives a obvious blobs. Illustrator is designed to realistic look, that is not mask like. It is not be mixed according to the complexion you complete coverage of color. There is an air are working on. But, I’ll often start with a quality to it and gives a variation of color and black, white, and yellow mix from the FX intensity that is organic. This technique is Palette and make variations. It’s really essential to a real-looking beard growth. You impossible to give a specifi c formula or will use it often, and for many types of even percentages since mixing is an makeups. If you were to apply complete 105 individual painter’s eye and art. But I would coverage for a beard growth it would look always start with black as the base tone then comical and clownish. mix in bits of yellow, blue and white to give Stipple technique is also used to fi ll in real that blue or green cast that beard stubble beards to make them look fuller or appear can have. Adding in additional colors is for to have more growth, for long distance fi ne-tuning to suit an individual. Varying shots where you do not want to lay hair by opacity and building layers rather than hand, stunt doubles, and background artists trying to do it in one shot (always a who will not be shot in close up. mistake-unless you want it to look fake) is the best approach. Let’s look at the three products and how to stipple a beard growth with them.

FIGURE 7-6: THE SKIN ILLUSTRATOR PALETTE

Kenny Myers, creator of Skin Illustrator: FIGURE 7-7: STACOLOR PALETTE I use a black stipple sponge with various 106 BEAUTY AND BASICS lasts. it istime-consumingbut works andit might gettwotothreehits on theface.Yes, another surface.Whendensity isgood,you Dip spongeintothecolorthenteston large areasatonce. inches. Whenstippling,don’ttrytocover surface. Thespongeshouldbeabouttwo hard edgesofftomakeasemiround plastic wiretypestipplesponge,andcutthe browns mixedwithblack.Iuseacoarse depending onthecolor,Iusuallyuse Using thecover-upeffectspaletteand Fred Blau,founderofReelCreations: nozzle. compressor andPaacheHbrushwith#3 through bearair.com,Combokitwith technique. Airbrushcanbepurchased alcohol andairbrushonusingasplatter thinned downliquidStaColorswith99% sponges (blackbeardstipplesponges)or using differentdensitiesofbeardstipple Matthew Mungle:ApplyGBBBeardStipple FIGURE 7-8:REELCREATIONSCOLORPALETTE using someReelDeveloper. Do notbeafraidtolighten(density)color use thesametechniqueaswithpalette. for eachcolor).Letitthickenordry.Then colors intoawidelid(i.e.,pancakeone the palette,itisagoodideatopour If youchosetouseReelBodyArtinsteadof pepper look. is alsoagoodtechniqueforsaltand lay downtomatchthedesiredshade.This lightly ontheheavyareasandbeardwill tone mix(Cover-upEffectsPalette).Stipple counteract thebeardstipplewithafl use thesametypeofspongeand If youhaveanydarkareas,may look. color. Donotrub!Itwillsmearandruinthe Q-tip andtouchagain;thisshouldliftthe couple ofseconds,thenturnoverthe alcohol), andtouchtheglitchoncefora dipped inreeldeveloper(99%Isopropyl If youhaveanyheavydeposits,useaQ-tip SPONGE FIGURE 7-9:ILLUSTRATIONOFATEXTURED STIPPLE esh- Stipple sponges are stiff sponges made in skin is a drag; it’s time-consuming and different textures used in makeup to create painful. a variety of shapes and textures. The SPF (Sun Protection Factor) can be misleading and not always accurate in what the manufacturer claims. Example: waterproof sunblock has to be reapplied after getting wet or out of the water. The labels have now been changed to “water resistant,” but there are still products fl oating around with old labels on them that say “waterproof.” When in doubt, reapply. SPF products with a number larger than 30 have not been proven to have any more 107 protection, experts say. Another misleading FIGURE 7-10: A COSMETIC SPONGE MADE INTO A STIPPLE SPONGE assumption is that a sunscreen or sunblock with an SPF 30 has twice the protection of a SPF 15: not so. SPF 15 blocks out 93% of the sun’s rays and SPF 30 blocks out 97% Stipple sponges can also be made from of the sun’s rays. Rays are the Ultra Violet regular cosmetic sponges by tearing a rays of UV. The UVB rays cause damage to desired number of holes into the sponge. the surface of the skin such as: burning, This will create texture. tanning and other skin damage. The UVA Favorite adhesives to use for chopped hair rays penetrate the surface of the skin and applications: Extra Hold Matte Adhesive. damage the connective tissue. UVA long- wave protection ingredients are avobenzone, zinc oxide, titanium dioxide, mexoryl sx, SUN PROTECTION tensor and helioplex (a stabilizer). No matter who you are, you need sunblock. Sunblocks come in creams, lotions, gels, Everyone needs to protect their skin from the sticks and sprays. damaging effects of the sun. Makeup Artists A MUST HAVE: board spectrum should apply sunblock before a makeup as sunblock that blocks both UVB and well as during the coarse of the day when UVA rays. fi lming outdoors. It needs to be reapplied to protect all day. There is a certain For the face try Neutrogena Ultra Sheer responsibility to ensure your actor does not Dry Touch Sunblock in SPF 55. It burn while fi lming or shooting outdoors. It works great under makeup base, feels good also makes your work a lot easier if you take on the skin, is non-greasy, and water the time to protect the skin. Covering burnt resistant. 108 BEAUTY AND BASICS MAKEUP SAFETYTIPS can sprayitrightoveryourmakeup. great foron-settouch-uporreapplying.You the skin,isnon-greasy,waterresistant,and beautifully andisultralight,feelscleanon Sunblock SPF45.Thisspraygoeson For thebodytryNeutrogenaBodyMist wipes. Alwaysremovecreamproductsand is notavailable,usehandsanitizer,or between workingoneachperson.Ifasink when working.Washyourhandsin shared. Usecertainsafetystandards Makeup andapplicatorsshouldnotbe alcohol. palettes, stainlesssteelpaletteknife,99% artist’s paperpalette,Japonesquemakeup Industry Standards:stainlesssteelpalette, Use spongesandpuffsonlyononeperson. Clean lipstickbrusheswith99%alcohol. Sharpen allpencilsbeforeandafterusing. palette only.Cleanbrushesaftereachuse. and placeontoyourpalettetobeuseoffthe applicators. Cutofflipstickfromthetube person. Usedisposablemascarawandsand palette orartist’spapertouseforeach palette knifeandplaceontoamakeup foundations fromtheircontainerwitha REFERENCES Beard stipple with Reel colors, Fred Blau Thomas P. Habif, Clinical Dermatology, www.reelcreations.com Third Edition, 1996, Mosby Year Beard Stipple with StaColors, Book Inc. Matthew Mungle www.consumersearch.com/www/family/ www.matthewwmungle.com sunscreen/index.html Beard Stipple with Skin Illustrator, www.comsumersearch.com/www/family/ Kenny Myers sunscreen/review.html www.ppi.cc www.medicinenet.com/sun_protection_and_ Tattoo Cover up, Christien Tinsley sunscreens/pg2.html www.tinsleytransfers.com www.medicinenet.com/sun_protection_and_ Richard Dean sunscreens/pg3.html [email protected] 109

DESIGNING, BLOCKING OUT EYEBROWS, REVERSE AGING, AGING, AGING, AGING, REVERSE EYEBROWS, OUT BLOCKING DESIGNING, Design 8

© MARY BIRCHLER DESIGNS 112 DESIGN Designer, Cinematographer, andthe Actor, CostumeDesigner,Production collaborate, andmeetwith the Director, We explore,examine,research, discuss, successful indevelopingthecharacter. working. Youknowyouhavebeen the makeupdesign(andapplication)is this moment,bothactorandartistknow their bodylanguagebeginstochange.At interior oftheirperformance/character,and the physicalappearancematching They arelookingintothemirrorandseeing eyes asthemakeupapplicationprogresses. feel theactorstarttotransformbeforeyour become thecharacter.Manytimesyouwill performance andnotthelook,to life. Thisenablestheactortofocuson performance andtobringthecharacter on theactor’sexteriortomatchinterior mood, andstyle.Weputthefi Makeup accessorizesthecharacter’slook, WITH ENVIRONMENT CONTACTS, VENEERS,DESIGNING TEMPORARY TATTOOS, skin. and wearenearlyreadytoputbrush areas ofinsecurity,andphysicalstrengths, their personalneeds,physicalcondition, information meetsourown.Addtothis his orheranalysisofthesametextual point theactororactressentersourlives, spend timeinfrontofthemirror.At and conditionofvanity,inclinationto being, socialandfinancial status,level of decisions:thecharacter’sphysicalwell- text. Basedonthetext,wemakeallsorts languages usedtoelaborateandillustrate text ofthescript.Makeupisoneseveral In film, everymakeupbeginswiththe —Richard Dean nishing touch nishing day. Itisaproject-per-project situation, days tocreate adesignorlook,justone Director, andclient.There could beseveral conversations withthePhotographer, Art For photograhy,thedesign is basedon theatricality ofthemakeup. makeup usedforstage,andhaslessenedthe This hasalteredtheproductsandstyleof of stageproductionsandlivebroadcasts. Adjustments arealsomadeforHDfi midway. rows. Soyousplitthedifferenceandgofor seen byanyoneseatedpastthefi front ofthehouse,yourmakeupwillnotbe seats inthefrontrows.Ifyouworkfor house, themakeupwillbetooheavyfor If youworkforthebackreachesof capacity, youadjustyourworkaccordingly. With eachtheatrebeingadifferentsizeand this vantagepointof“middlethehouse.” standard intheatreoroperatoworkfrom reading totheaudience.Itisgenerallya midway back,tojudgehowyourmakeupis usually viewingfromorchestraseats, the seatsinaudience(“fromhouse”), This isthetimetoseeyourperformersfrom the house”withlightingplotordesign. hope, achancetoseeyourmakeup“from Designer, andLightingDesigner—and,you same collaborationwithDirector,Costume rehearsals onstagewithlighting.Thereisthe and makeupareworkedoutindress own preporrehearsalperiod,wheredesigns begins, forbothfi lm andTV.Stagehasits the preptimeismuchlonger)beforefi schedule: theweeksordays(forprosthetics, test thelooks.Thisisprepperiodof meetings, andsidebarwebeginto script, designmeetings,production Producers. Fromourbreakdownofthe rst few rst lming lming with amount of time, research, and with sources from Milan, Paris, London, designing per job varying greatly—from New York. Art books and photography exotic, very stylized fashion to natural, to books, and old Life and Time magazines, designing the makeup for a runway and old catalogues from the time period collection. (Sears, Roebuck) are great sources. Walk- ing down the street you see the most in- There is a lot to think about in all areas teresting makeup choices and characters of makeup, starting with what medium is that you never would have imagined. In- being used? What is the look (style) of the spiration is all around you. project? Is there a color palette that all departments are working with? Who are the characters (and their background)? What is the movement of the story? Who is the There is movement to makeup in fi lm. Our client? Is it an editorial shoot or advertising? work is consistently changing with the 113 Where are the shooting locations? mood or emotion of the character, the Environmental factors; continuity issues. situations, and the environment of fi lming. What does the Director want? What does It can be extremely subtle or very obvious. the actor want. Is there an arc to the story Attention to detail brings life to the look that affects the makeup movement? What and believability. The more believable, the research needs to be done to create realism? less focus on the fact that it is makeup. What creative infl uences do you want to use: European fashion magazines, art books, Read through the text several times, making American fashion, street or local fashion, or notes and breaking down the script before museums? Is it fantasy or real life? What is meeting with the Director. Script breaks are the inspiration? done by all departments, and you must compare and defer to the Script Supervisor’s Inspiration for design can come from version as the fi nal word. The Script just about any source. It’s all around Supervisor will provide a breakdown to all you. department heads. Recommend reading for script breakdown “Costuming for Film: The Art and The Craft” by Holly Cole and Kristin Burke. PRO TIP After meeting with the Director, meet with the People-watching is a great source of inother departments: Costume Designer, spiration. Ride the subways and public Production Designer, Cinematographer. This transportation; visit different neighbor- is the time of discovery and aesthetics hoods; people-watch at the airport; go decisions. It is also a time for research. Once to clubs and social events that appeal to you feel you have done your due diligence, the specifi c types of characters that you talk to the AD (Assistant Director) about are researching. Keep current with beauty meeting with the actors. The AD handles trends and fashion; think internationally all scheduling. Your fi rst meeting could just 114 DESIGN pause, workoutthedesignonamodelfi designs thatarestillintheexperimental work outthelooks.Iftherearemakeup then therewouldbeamakeupdaytotestor looks, products,andideas.Ifscheduleallows, that isthecase,youandactorwilldiscuss be ameet-and-greet(nomakeupapplied).If in mindandhand.Thisispart ofthe In allsituations,remember to stayfl that are needed willbemade. on thephoto,anyadjustments orrequests Polaroids) and,afterreviewingandconsulting shooting, testphotoswillbetaken(or photographer andclient.Onthedayof directions andconceptsgiventoyoubythe will developyourmakeupdesignfrom cooks inthekitchen!Inphotography,you collaboration canbecomeatimeoftoomany the productionschedule.Thistimeof diffi been hopingfor.Manyfeelprepisthemost requested ifthelookswerenotwhattheyhad decisions aremadeormoretestingis goes onwhilelookingatthefi involved ispresent.Discussiononthelooks tests arescreenedat“dailies,”everyone decisions basedonwhatwastested.Whenthe work onfi lm, lookatiton-screen,andmake day.” Thisgiveseveryoneachancetoputthe makeup testingdoneon-camera,calleda“test actor. Normally,thereisatleastonedayof some cases,youwillnothaveaccesstoan dictate howmuchmakeuptestingthereis.In Prep timeandmoneyinthebudgetwill to designlooksanduseforashow-and-tell. the actor.MakeupArtistsalsousePhotoshop experimenting, workoutyourdesignswith then applythistotheactor.Ifyouarenot perfect thedesignorproductstouse,and cult time in cult timein lm, and exible rst, rst, their crewtoinstruct andmanagealarge Department). TheHODwill berelyingon interaction withtheHOD(Head of more likelyitisthatyouwill haveverylittle are adailyhire,thelarger showthe you arriveforyourfi rst dayofwork.Ifyou design andchoicesforaprojectlongbefore for allmediums;somuchhasgoneintothe supervising themakeupcrew.Thisistrue members ofthedepartmentthatare often tofollowinstructionsgivenbythose this istrue.Thiswhyweremindyou The biggerthebudgetandshow,more discussions, anddecisionsregardingdesign. you willnotbeprivytoallthemeetings, though. Inthebeginningofyourcareer, Department HeadorMakeupDesignergoes You nowhavesomeideawhattheMakeup elements toeachdesignsituation. picture. Itisfoolishtonotconsiderall makeup ifyoudonotlookatthewhole will struggletoachieveandmaintainyour problems (likehumidity)isanasset.You the environmentalissuesathandwillcause or resources,howtocreatealookwhen how toachievealookwithverylittlemoney problem-solving abilityindesign.Knowing projects helptodevelopandperfectyour skills, creativity,andintuition.Thesesmall projects, andsmallprintjobstohoneyour projects, independentfi the opportunitytostartoutwithsmall right thefi rst time.Ideally,youwillhave understand thatyouwillnotalwaysgetit something. Donotbeputoff,but you willbeaskedtochangeorcorrect and characters.Therewillbetimeswhen collaboration thatgointodesigninglooks process ofproblem-solvingand lms, industrial lms, staff. There is a temptation in a large work “In designing the makeup for Fatal situation to “grand stand,” or stand-out from Attraction, the female character Alex the group. Resist the urge! When you are Forrest, played by actress Glenn Close, is new and wanting to impress, all you have to clearly attractive and sensual, but with an do is your job! The HOD might not have underlying layer of terrible disturbance the time to chat with you, but they know and ill function. Symmetry and balance who is getting the work done. This is could not tell this story. Instead, I made what will impress those you work for; doing an effort to suggest that something was the makeup asked for, paying attention, always hidden by emphasizing the natural being professional on and off set, and not lack of symmetry in the human face, trying to over-step your position to get by lining the eyes to stress that one was attention. slightly smaller and by tossing a shaft of hair over one eye to create a kind of three- quarter (rather than honest full face) gaze. 115 CHARACTER DESIGN The lady had her secrets and her “beauty Character design can be thought of as all makeup” contributed to her mystery. In makeup designs; even a beauty makeup is a the retail world, balance and symmetry form of character design. For some people, are more useful than they are in fi lm. when referring to character makeup, they The movie camera seems to adore the don’t realize this point. They think of an old less-than-perfect if it exists within the age makeup or an obvious physical confi nes of perfect reproductive health alteration to the actor to show character, and heat. Just examine the specifi c and not beauty. All projects begin with features of today’s biggest stars. I struggle text or concept; there is your character. to learn what each face wants to say about Working subtly is just as challenging as itself; unless there is a particular demand painting with broad strokes when creating made upon one feature’s emphasis over a character. Nicotine stains on the teeth another, my habit is to let the face of the and fi ngers of a character that smokes is an actor tell me. Or their voice if they are so example of conveying the subtlety of a inclined.” character. Many times the audience —Richard Dean does not consciously notice these design because the look is so authentic to the We use every trick available to tell the story physical portrayal. Richard Dean, whose and sell the look. We change eyes, teeth, artistry and brilliance in makeup design for eyebrows, noses, nails, skin color, hair so many fi lms, is one of the top makeup color. We reverse age, add age, add tattoos, artists in the fi lm industry. His work gives change facial features, and, of course, alter makeup artists inspiration, and for the with prosthetics. Your designs can be beginning makeup artist he will illustrate sketched, done with Photoshop, tested on some of the thought processes for designing models/actors, or verbalized. The better a makeup: your prep and research of a project, the 116 DESIGN detail givesyourmakeupdesignslife. fast problemsolving.Rememberattentionto Director oractor,accidentsthatrequire requests becauseofanewinspirationbythe time, suchaslast-minutejobs,on-the-spot times thatyouhavenopreporresearch better yourworkwillbe.Therebe written details.Ilovedoing them.Igeta if youwill,withpaintedillustrations and created forthefi lm onpaper,aFaceChart, means reproducingthemakeup designsI’ve continuity forthefi lm projectathand. This “One ofmyjobrequirementsismakeup makeup ontheactororactress. designs, includingaphotoofthecompleted includes writtendetailsofhermakeup meticulously showsapaintedillustrationand continuity charts(orFaceChart).She Patty alsoprefersillustratinghermakeup distinguish herfacepaintingsfromothers. background asacommercialartisthelps film. Beingapassionateperfectionistwith Patty Yorkpreferstoillustrateherdesignsfor hand. instincts andexperiencemustguideone’s necessary corrections.Thisiswhereone’s observe herinarehearsalandmakeany run ofanopera,andthereisnochanceto or thirdsopranotosingtheroleduring on aleadingladywhensheisthesecond It canbedauntingtoexecuteamakeup PRO TIP —Steven Horak fi photography requestedbythestudioto If therearere-shootsoradditional into thestudiooncompletionoffi by theMakeupDepartmentandturned into amakeupcontinuitybookthatiskept These FaceChartsorMakeupgo use. what youdid,howdidit,and a shootingschedule.Youneedtoremember often onelookwillberecreatedthroughout Scheduling, storyline,andcostaffecthow for continuityreasonsonaproject. Many timesyouwillhavetorecreatelooks York sort ofZenbuzzfromtheprocess.”—Patty design forthischaracter. and descriptiontorecreate her makeup Patty’s FaceChartgivesyou allthedetail document continuity. above, aresomeofthetoolsusedto on thelabel,andcombinationsofall the cosmeticsusedwithsceneandactor Makeup Charts(FaceCharts),labelingof notes thatattachtothebackofphoto, photos, notesillustratedwithsticky stamp onhowthebookisdone.Digital continuity books.Everyoneputstheirown departments onfi lm andtelevisionkeep that doesnotrespondwelltothemovie.All reasons, oneofwhichisatestingaudience change, redo,oraddtoasceneformany on aproject;thePowersThatBedecideto available. Thesedecisionsaremade“inpost” not theoriginalMakeupDepartmentis continuity book—regardlessofwhetheror recreated byreferencingthemakeup nish orchange thefi lm, thelookscanbe lm. 117

FIGURE 8-1A

Note: This is an actual working Face Chart, character. The eyebrows frame the eyes, the photo of the completed makeup on the the windows to the soul, making them actress is not included to protect the very infl uential on the focus of the facial integrity of the fi lm until it is released to the features. Block out the eyebrows to theatres. The fi lm is still in production as of completely alter a face or show “period” (for this printing. example, Victorian England). As with all makeup, it can be a very subtle or extreme Kim Felix-Burke gives us another example block. of a Makeup Chart. This shows how a photo from fashion or advertising can inspire a makeup design. The photo is from a Sephora makeup ad. Th ree Techniques Adhesive Block: To block out the brows, choose an adhesive that is easy to remove EYEBROW BLOCKING (see adhesives under product information). Changing eyebrow shape is a wonderful and Spirit gum or resin-based adhesive works powerful tool to developing and designing a well. It is easy to remove, dries fairly 118 DESIGN . Whentheadhesiveisdry,applyasealer 3. Usingasoftclothorpowderpuff 2. Applythespiritgum,brushinginto 1. matte formulas. quickly, andcomesindifferentgradesof FIGURE 8-1B over thetopof it. adhesive.) because theydonotstickto the fabric worksbestwithspiritgum, (Leather shammys,orNylonsilk brows untiltheadhesivelooksmatte. wrapped innylon,gentlypress-rollthe skin. brows tolayfl at andsmoothagainstthe . Coverthebrow withasealer.Dry. 2. Applywaxovertheeyebrowwitha 1. We useKRYOLAN’seyebrowwax. brands tochoosefrom. several degreesofhardness,andmany Waxing Out:Eyebrowwaxcomesin Removal: Usealcoholorspiritgumremover. Applyfoundation,choosingonethatfi 4. skin. spatula, blendingtheedges intothe coverage andstayingpower. the character’sskintone,withfull ts 3. Finish with the correct foundation 7. Lay the plastic appliance on top of the color. brow, being careful not to fold or crease the edges. Combination: Combine the spirit gum and wax for more hold and block. 8. Secure and glue down the plastic. Go around the edges with alcohol to blend 1. Apply spirit gum, brushing into the hair the edges. against the skin. 9. Apply foundation of choice, and powder. 2. Let dry, and follow with an application of eyebrow wax. 3. Apply sealer.

4. Apply foundation. PRO TIP To prevent the eyebrow hair from “bleed- 119 APPLIANCE BLOCK ing” up though the plastic, lighten the hair Eyebrow appliances will give you a total with Tattoo Paints or Roux ‘Tween Time Color block, but you must be able to blend the Stick, by Revlon. edges for successful application. They are applied directly over the eyebrows. Plastic- based products are easier to work with. We will use KRYOLAN’s eyebrow plastic. LIFT OFF Making the appliance using KRYOLAN’s The “Traynor Lift” is the beauty device used plastic, take a round object (such as by Makeup Artists for stage, ﬁ lm, and TV an orange or grapefruit—they both give a to give a youthful look to the face. Mark nice texture) to simulate the pores of the Traynor Face and Neck Lifts and Isometric skin. Beauty Bands are used for beauty, glamour, 1. Apply on the fruit a thin layer of plastic to reverse age, in character makeups (think that is slightly larger than the eyebrow Tootsie, drag queens, transvestites), and on area and shape. Let dry. both women and men.

2. Reapply a second layer. Let dry. The “lifts” eliminate lines around the eyes 3. Powder with no-color powder. Lift off and mouth, and help give a smooth, fi rm the fruit. look to the jawline and neck. They tighten the skin and lift the eyebrows. Many times 4. Apply eyebrow wax to brows to you will use them in tandem with a wig, fl atten. but lifts can also be used without a wig. The 5. Press with powder puff that is clean—no Hairstylist will work with you to incorporate powder or talc on the puff. the lifts into the hairstyle or wig. They are 6. Apply spirit gum around the edges of fantastic for those projects where the same the brow. person goes through several decades. You 120 DESIGN . Withthepersonsitting(cleanface), 1. are inplace,togetthepropershape. eyebrows shouldbedonelast,whenthelifts and smooth,completeyourmakeup.The lifts havebeenattachedandtheskinistight placement ofmakeupiscorrect.Oncethe and attachthelifts.Thisensuresthatyour application, youwillstopdoingmakeup point nearingthecompletionofmakeup of liftsbeforedoinganymakeup.Atsome Start withacleanface,decidingplacement To applythelifts,pullisveryimportant. eyelets onitforadjustingthetension. attached totwoelastics,oneofwhichhas pieces ofhypoallergenicsurgicaltape Mark Traynor’sliftpackageconsistoftwo old agetoshowthepassageoftime. would use“reverseage,”currentage,and . Whenyourmakeupapplicationis 5. Gentlyplacetheelasticstosideor 4. Applythetapetopreparea.Insome 3. Cleantheareawithalcoholtoremove 2. or justright. placement. Seewhereitlookstootight Check thepullbyadjustingyourfi You mustworkoffthemirrorimage. to seewheretheliftsshouldbeplaced. Placing yourfi ngers atthehairline,pull stand directlybehindyoursubject. looking straightintothemakeupmirror, almost complete,attachthe elastic.You You arenotattachingtheelastic yet. out ofthewayformakeup application. back ofthehead,withacliptogetthem power. adhesive tothetapeforextraholding climates, youcanalsoaddamedical natural oils.Letdry. nger exercise. Chapters 1and2beforestarting youraging will notgiveyoustepstoaging. Review Each facetellsyouhowtoage them,sowe aging withasmanymodels asyoucan. wrinkle further.Practiceandworkoutyour (unblended), thishardedgewillrecedethe the loweredgeofyourlinehard needed, blendthetopedgeoutandleave aging useataupebrown.Ifheavierlineis where thewrinkleforms.Foraverysubtle fi The Body).Usingamediumbrownwith painting tofi nd thelines(seeChapter2: each sectionofthefacethatyouare lined skin.Haveyourmodelraiseandlower your linework.Otherwiseyouhavesmooth Texturing theskinisamusttocomplete giving anold-agetexturetotheskin. the features,addingfi ne lines,and 6) areneededtoguideyouinhollowingout 2), andHighlightsContours(Chapter Shapes (Chapter1),andtheBody knowledge fromthepreviouschapterson the wayfamilygeneticsage.Your are recreating,thatisveryhelpfulinseeing actor hasaphotoofparentattheageyou and bygrayingtheeyebrowshair.If in lines,agespots,andbrokencapillaries, We canaddagetoacharacterbypainting OLD AGE . Finishthemakeup,andcheckfor 6. ne-tipped makeupbrush,paintintheline instructions. Always followallmanufacturer’s any adjustmentsthatareneeded. hairstyle. point, tocoordinateelasticwith should workwiththeHairstylistatthis a very simple technique using three- dimensional appliances to achieve wrinkling and aging of the skin. We are going to tell you how to do stretch and stipple with two different products. Basically, the technique of stretching is the same with both products. The key to stretch and stipple is how you stretch the skin to get realistic- looking wrinkles. There will be times that you will be asked to do this without any preparation, so having the skills and products for stretch and stipple will allow you to work directly out of your kit, at a moment’s notice. 121

FIGURE 8-2: OLD GREEK WOMAN GREEN MARBLE SeLr AGING TECHNIQUE by Richard Snell and Kenny Myers, reprinted from Premiere Products Inc. (www.ppi.cc) The information contained within the con- Green Marble SeLr is often used as an text of this article is presented in good aging product. The results are subtle and faith. The responsibility for the use of any effective. A technique called stretch and material in special makeup effects rests stipple (or stretch and brush) is used in the solely with the user. The author assumes aging process. These procedures were no responsibility for the use, or misuse, reﬁ ned by Douglas Noe during a of any material, technique, or the infor- particularly brutal summer while ﬁ lming in mational content discussed within this Atlanta. To mix Green Marble into an ager, article. you must use Green Marble SeLr concentrate and Attagel (clay powder used in facial masks).

Very important: Do not use this technique AGING USING STRETCH with the spray Green Marble SeLr. AND STIPPLE Recipe: 1 oz. Attagel to 6 oz. Green Marble Many times the painted technique of aging concentrate still works well as a fi ne line is not enough to achieve the age needed. wrinkler when used lightly. This formula In this situation, the professional Makeup also works for lighter applications or where Artist should know how to do aging using texture change is all that is needed. You the stretch and stipple technique. This is might want to custom blend the recipe to 122 DESIGN GreenMarbleSeLrConcentrate • • Hand fan • Powders • Hand sanitizer • Moisturizer • Eyewash drops • Makeup remover SkinIllustratorColorPalettes • • Cape Flatwhitesyntheticbrushes( • • Kiehls blue astringent • Cotton pads • Cups, Q-tips • Assorted makeup brushes • AF thinner (RCMA) • Hair dryer • Towels • Sponges • Puffs • Kleenex with GreenMarbleConcentrate: Your makeupkitforstretchandstipple 1to6 • oz.—light ageronmostskintypes 1to5 • oz.—medium light 1to4 • oz.—medium heavy 1to3 • oz.—heavy ageronmostskin Formulas: Attagel toGreenMarbleConcentrate face. get adesiredeffectfordifferentareasofthe 1 inch) types 3 / 8 , 1 / 2 , 5 / 8 , 7 / 8 , actor andtoencourage thedryingprocess of working tokeep thefumesawayfrom powder areapplied.Useahand fanwhile go oftheskinbeforeyourfinal stippleand finished look.Butwhateveryoudo,don’t let between layers.Thiswillenhance the hold theskinthatlong,trynottopowderin possible, formultiplelayersandifyoucan you havethenumberoflayersdesired.If release yourstretch.Repeattheprocessuntil stretched, powdertheareajustdone.Now of thenaturalwrinkle.Whileskinisstill with abrush,complementingthedirections still stretched,applySeLrconcentrateager effect. Stretchtheareabeingstippled.While nine layers,canbeusedtogetthedesired One tofourlayers,andupasmany complement thedirectionsofwrinkles. the SeLrtoskin.Haveyourbrushstrokes changes onlywiththetoolsyouusetoput on theareabeingaged.Theapplication (between Use aflat whitesyntheticbristlebrush THE METHODS both throughouttheprocess. fi conditions. Anuprightpositionisperfectly the actorinachairforeasierworking a mascarawandbeforeyoubegin.Recline you work,applyAFThinnertolasheswith hazel. Topreventlashesfromstickingwhile astringent (productofchoice)orwitch lightly wipethefacewithKiehlsblue Remove anyfi ne hairsfromtheactor,and Prep theactor: • Telesis 5 Thinner • 99 percent alcohol • Chubs ne also.You mightfi nd yourselfdoing 3 / 8 and1inchinwidth),depending each layer. A hair dryer can also be used on a cool low setting. When aging an actor, don’t get too close to the mouth or nasolabial area. Too much buildup of product will only cause you to have constant repairs because this is a very mobile area. Remember to keep your fi ngertips powdered at all times.

WHERE TO STRETCH FIGURE 8-5: CROW’S-FEET Furrow lines: Area between brows is pulled upward and outward.

Eyelids: Pull up at eyebrows, both eyes. 123

FIGURE 8-3: AREA BETWEEN THE BROWS WITH FURROW LINES

FIGURE 8-6: EYELID WRINKLES

Forehead: Subject scowls to lower brow line, and hairline is pulled away from face. Under-eye area: Pull down and toward center of face, both eyes.

FIGURE 8-4: FOREHEAD WRINKLES

Crow’s-feet: Pull away from outer corners FIGURE 8-7: UNDER EYE AREA LINES of both eyes. 124 DESIGN Option two:Pufftheareatobeaged. face. Option one:Liftareaawayfromcenterof FIGURE 8-10:CHINSTRETCH face. chin awayfromthecenterofsubject’s Chin: FIGURE 8-9:UPPERLIPPUFFED with airandholduntilapplicationisdry.) means havingthepersonfill theirupper lip Upper lip:Puffentireareatobeaged.(Puff FIGURE 8-8A&8-8B:NASALLABIALFOLD With neckarched,pullbothsidesof FIGURE 8-12A&8-12B:NECKSTRETCH both sides. throat fi rst. Then,withheadturned,do Neck: FIGURE 8-11:CHEEKSTRETCH together. Dobothsides. nasolabials, under-eyearea,andcrow’s-feet This isaperfectopportunitytotiethe reach deepintothecheekandpushout. Cheek: Begin withtheheadback.Do Using thesubject’sindexfi nger, REPAIRS C: Heaviest wrinkling effect possible. Good Depending on how many layers you have for use on hands. done, areas around the mouth may crack or Crusty: Gives the illusion of deeply fl ake. You’ll most often notice this damage weathered skin. Great for use on hands. around lunch and near wrap. Apply a thin layer of Pros-Aide or Beta Bond Repairs are easy and quick: before stippling hands for maximum adhesion. 1. Paint 99 percent alcohol in the direction of the wrinkles. Prep the skin with 70 or 99 percent alcohol. 2. Apply Telesis 4 Thinner and/or acetone (faster) with a brush. Then apply Green Decant stipple into a small container, and Marble SeLr with a brush, sponge, or heat in the microwave for two seconds. spray. Be careful not to overheat, or the stipple 125 3. Apply the original ager material. will coagulate.

Stretch and stipple skin area with a light Removal coat of old-age stipple. Powder and release. Massage isopropyl myristate or IPM Gel with your ﬁ ngertips into the skin that Castor oil makeup base or Stacolors may be has been aged. Take your time. The used as translucent washes over or under material will dissolve—slowly, then faster stipples for a natural look. and faster. When the product has loosened, A wash of castor oil and 70 percent alcohol follow with a hot towel for a thorough may be used to remove the powdery look of removal. latex over the stretch and stipple area.

STRETCH AND STIPPLE WITH Removal W.M. CREATIONS, INC. Massage liquid hand soap into stippled area, W.M. Creations has old-age stipple available and let soak for at least one minute. in four formulas: A, B, C, and Crusty. Neutral and dark skin formulas are available Apply a warm, wet towel to the area for one by special order. minute and repeat the process.

A: Used in a perspiration-free environment. Stipple may be rolled off the skin. Will give slight wrinkling effect when applied to unstretched skin. CONTACT LENSES B: Perspiration resistant. Under normal use, Custom contact lenses are a great way to gives heavy wrinkling effect even if the skin complete a makeup design, and are is not stretched. This is the most widely sometimes necessary to sell the look of the used stipple. makeup. Examples of contact lenses being 126 DESIGN Christina says: most commonmethodforherisbyemail. takes ordersfromallovertheworld.The Technician andSpecialEffectsCoordinator, Cristina PattersonCeret,ContactLens There aremanywaytoordercontactlenses. tool fortheMakeupArtist. your artistry.Contactlensesareafabulous the colorofiris,completesandsells “life” inthewhitesofeye,ortochange these situations,havinglensestoremovethe the persontheyareportraying.Inallof change theeyecolorofactortomatch cloudy. Inportraitmakeup,youwould In death,youwoulduseadeathlensthatis would showyellownessandbrokenvessels. in thewhitesofeye.Inillness,you area, therewouldbebrokenbloodvessels face, ifthereisbruising/woundstotheeye makeup (lookalike).Withabadlybeaten beaten face,illness,death,orportrait necessary tocompleteamakeupare:badly not goingtotheedge.Makeup Artists size ofthescleralenses,it’s defi measurements permitonlya smaller measurements. Forinstance, iftheactor’s on thesizeandcurveofactor’s to completethecircle.Italsodepends way, theyalsohavetogotheotherway round, soifyoustretchalensoutone to theedge.Peopleforgetthatlensesare something thattakesthelensallway own. Alotoftimes,theywilldesign tricky whenaMakeupArtistcreatestheir requests theirdesignstobepainted.It’s for thecontacts,orMakeupArtist I amaskedtoactuallycreatethedesigns “Depending ontheproduction,sometimes nitely Artifi conditions willhaveanimpact aswell. actor’s comfortlevel.Environmental time. Itiscompletelydependentuponthe comfortable. Thereisnodefi properly fi tting lensshouldbereasonably comfort levelwhenwearingcontacts.A a straw.Everyoneisdifferentwiththeir tunnel vision—justlikelookingthrough When contactsarebeingworn,youcanget fi The MakeupArtistmusthavetheactor the contactlensesarenotinstock. or next-daysituations.Therearetimeswhen contacts rightawaytobeusedinsame-day the lastminute.Actorswouldbefi Television showstendtoneedcontactsat kept instockwithdifferentcurves. The mostcommonlyusedcontactlensesare eye, whichaffectscontactlens comfort. tted byaprofessionallylicenseddoctor. refl should alsobeawareofaddinganylight be sentoffforapproval.” and, iftimepermits,apictureistakento down topaint.Amock-upispaintedfi me. Afterdiscussingwhatisdoable,I’llsit Photoshop beforehand,thenemailedto executed. Mostdesignsarecreatedin Artist wantsandhowthedesigncanbe the easiestwaytoseewhatMakeup the contactstobeworn.Thiswould that IwillalterinPhotoshoptobetterfi The MakeupArtistwillgivemeadesign between theMakeupArtistandmyself. At times,itbecomesacollaboration to interpretduringthepaintingprocess. looks nice,thereflection canbeconfusing cial environmentsareallirritantsto the ection fl ares tothedesign.Althoughit nite wearing nite tted for tted rst, t Artifi cial snow, smoke, wind, lots of convenience stores, or shops, for example. splashing water, and the occasional Soft lenses are currently the standard of the sand can make all lens wearers unhappy industry. Almost anything can be painted, campers. printed, or laminated on a soft lens. Rigid lenses are used for a variety of effects— Colors of the lenses can be adjusted or used athough the wearing time is much less than in such a way to accommodate media such for a soft lens, and rigid lenses take longer as bluescreen and greenscreen. Effects can for the actor to get used to. be included with this. For example, green or blue lenses have been used to make an actor disappear on-screen. Scleral Lenses Scleral lenses cover the sclera, or white part Green or blue lenses have also been used to of the eye. They are larger in diameter (18– project an effect onto the sclera lens that is 24 mm) than traditional lenses, which being worn. These are just a few examples. 127 generally cover only the iris (colored part of Contact lenses should be the last thing to go the eye) and are usually 14–15 mm. Scleral on the actor, and the fi rst to come off. Most lenses work great for bloodshot eyes, lenses stay with the Makeup Artist after the hemorrhage effect, jaundice, full black, shoot. He or she will bring them in to be demon eyes, and other monster effects, sterilized and sealed for long-term storage. where the entire inside surface of the eye If the lenses are to be used again after they needs to be covered to avoid seeing the have been sitting for a year or so, we ask edge of the lens. the Makeup Artist to bring them in to us or any other eye-care specialist to be checked Contact Lens Information out for imperfections, bacteria, and so on. Cost: The cost of a lens is related to the Also, the artwork on the lenses should be diffi culty and type of special-effects lens checked for any fading or opacity. If the design. lenses are in good shape, we’ll go ahead and sterilize them for use. Fitting and Exams: All exams include internal and external eye-health evaluation to determine if the actor can in fact wear All Lenses Are Unique (or a word about contact lenses, plus refraction for contact lenses) prescription. There is no such thing as a generic contact lens. Every person has a slightly different Getting Fitted by Another Doctor: To eye curvature and eyelid tension. Only a purchase lenses without being able to bring licensed eye-care professional can fi t a the actor in for fi ttings to your favorite contact lens. You are putting your eyes at special-effects lens maker, you can forward risk by purchasing special-effects lenses the information directly to the shop. This is from online auction sites, fl ea markets, what you’ll need to submit: 128 DESIGN . Anexactcolorrenderingofeffecttobe 6. Normaliriscolor(photoifpossible) 5. 4. Pupil size (mm) Visibleirisdiameter(mm) 3. 2. Keratometric (K) readings 1. Current refraction in dentalprostheticsforthe fi Gary ArcherofG.A.Enterprises, aspecialist making thechangeson. background protectstheactor thatyouare professional’s technologicalandmedical characters involvingeyesandteeth.The professional inbothareaswhendesigning It isimportanttouseaqualifi work thathasbeendone. white. Thiswilldetractfromalloftheaging 80 yearsold,andtheactor’steetharetoo example, youhaveagedanactorfrom40to take awayfromyourmakeupjob.For that don’tgowiththemakeupdesignwill and comedy.Aswithcontactlenses,teeth also awonderfulchoiceforcharacterdesign essential tooltocreaterealisticeffects.Itis teeth togowiththemakeupdesignisan with contactlens,changingaperson’s working withandchangingtheteeth.As Another greattoolfortheMakeupArtistis TEETH Ifscleralcontactlensesarethedesired 7. measurements. solely bycornealcurvature physically; theycannotbedetermined set. Sclerallensesmustbefi created doctor whohasthecompatiblefi lenses, theactormustbefi tted bya lm and lm ed tted tting transformation: and currentreasonsfortooth television industries,explainstheprocess famous celebritiesandinfl eye. Inaddition,wehavecopiedsmilesof retainers thatwillfoolthemostcritical also developedarangeoffakebracesand teeth bad,andbadgood!Wehave and stylesonthem.Wemakeperfect faux diamondstofullarcheswithdesigns “grills,” rangingfromsingleteethwith them falloutoncamera.Wealsomake care; havethemmissingteeth,or to representneglectandpoordental them gapswherenogapexists,andstains to makethemlessperfect.Wecangive have hadrequeststodarkenactors’teeth dazzling, andthereforeunrealistic.We in frontofthecamera,itisentirelytoo smiles inlife—butunderthelightsand cosmetic bonding,wehavebeautiful in porcelainveneers,implants,and essential. Unfortunately,withthelatest Hollywood society,aperfectsmileis transformation isthatintoday’s “One ofthemainreasonsfortooth and areanotheruniqueproduct. swell outorfattenacharacter’smouth, Plumpers areanotherspecialtytohelp into whoeveritistheyareportraying. of thepasttotransformactor’steeth ing fromafi ght oraccident. ing facialshape.Forexample:aging orswell- Plumpers areagreatmakeuptool forchang- PRO TIP uential fi gures stress in the artist-actor relationship, to say the least. Not using enough SAFETY TIP FROM GARY ARCHER material can lead to a shortened or The mouth is a very delicate place. Be care- underextended impression that doesn’t ful what you plan to put on an actor’s own capture the areas that you need. teeth. All the new technology available to dentists in the advancement of “tooth beautifi cation” means that it is very easy to damage a veneer or to stain cosmetic PRO TIP bonding. Stay away from “paint-on stains and colors.” They can permanently stain If you are not sure of the procedure, call for delicate bonding and unsealed margins on help. veneers. 129

Once the positive dental casts have been done, the design process starts. A diagnostic It is recommended that you use a dental wax-up can be made to show the Makeup professional when transforming teeth for a Artist and Director exactly what the teeth character. Gary will show us the process for will look like. This helps to eliminate dental casting: surprise on the set, and will enable all parties to be on the same page. It helps to Obtain accurate dental casts of the actor. Do bring it all (the design) together. not use old molds that the actor may have from previous projects. They are usually After the designs have been approved, older than the actor remembers them to be, a last wax pattern is cast to fabricate the have been used for a previous prosthetic acrylic veneers. Heat-cured acrylic is used to appliance, and may be damaged or give the most accurate, color-stable, and inaccurate. realistic look for the veneers. Self-curing plastics tend to have a very monochromatic Gary takes us through the steps of dental and dull appearance, so they should be casting and dental molds: avoided. 1. First, an alginate impression is taken Once fabricated, the veneers are quite with a metal tray. Plastic trays are not thin and delicate. Given time, the actor rigid enough and can cause distortion. actually forget they have teeth in, and 2. Second, a cast is made in a hard yellow care must be taken to ensure that the or blue stone. actor does not forget they have veneers 3. Be careful loading the impression tray. in, and go to lunch wearing them. Using too much material can gag or This has happened, much to everyone’s choke the patient (actor), which causes amusement. 130 DESIGN Youwillbeputtingin,aswelltaking • Askifthepersonhasanallergytolatex, • Youwillneedtoworkwithlatexor • with veneers: Things toknowasaMakeupArtistworking keep themfreshtasting. small amountofmouthwashinthecaseto in thecaseprovidedforeachset.Adda Gently rinseundercooltapwater,andstore CARE OFACRYLICVENEERS results. speed uptheprocessusuallyproducesbad dental acrylics,andattemptingtorushor faster, buttherearecertainrulestousing cases, GAEnterprisescanturnthemaround veneers isusuallyoneweek.Insome fabrication andcompletionofaset Normal processtimefromdesignto their pocketasstoragetheywillbreak! Remind theactortonotputtheirveneersin PRO TIP must bepreparedtodothis. always momentswhentheMakeup Artist actor willwanttodothis,but thereare is alsonecessaryon-set.Sometimes the out, theveneers.Alwayswear gloves.This fast rinseon-setifneeded. veneers fresh,aswellbeinggreatfora mouthwash. Mouthwashhelpstokeepthe and whatflavor preferencetheyhavefor nonlatex gloveson. to showhairloss.Usedinconjunction with Bald capscanbehelpfulin creating oldage BALD CAPS wearing veneers. to pleasenotdrinkhotcoffeeorteawhile rinsed andstoredproperly.Asktheactor who takesthemout,theywillneedtobe mouth. Theactorcan’tdoit.Regardlessof actually removetheveneersfromactor’s case. Sometimesyouhavetobetheone them inapapertowelordirectlyintotheir gloves onandremovetheveneers,placing If youneedtoremoveveneerson-set,put • Paper towels • Bottled water • Bottle of mouthwash • Nonlatex gloves • Latex gloves Adentalcase:theveneercaseforeach pair • On-set, youwillneedtobringwithyou: ON-SET TOUCH-UPS Tohelptheactoradjusttosomethingon • of veneersworking on-set! Soon youwillbepoppingtheveneersin them, andnotneedtoputtheminearly. of use.Theactorwillquicklygetusedto need todothisonlyforthefirst fewdays forget thattheveneersareon.Youwill bit different,butthisgoesawaywhenthey their speech.Atfirst, theymightsounda to forgettheyareon.Thisalsohelpswith before goingon-cameratogivethemtime them. Havethemweartheveneerswell their teeth,theyneedtogetthefeelof hairpieces, they create a realistic aging. Makeup, Ninth Edition. Needham Heights: Besides old age, we also use bald caps in Allyn and Bacon, A Pearson Education character design, to show illness, photo Company. double for a bald actor, stunt double for a Internet Resources bald actor, and, of course, creature/alien Archer, Gary. Dental Prosthetics Specialist designs. You could go years without for Film, dental/teeth information, G.A. needing to do a bald cap, but you should Enterprises. www.gaenterprises.net. still know how to do one. You will need to apply a bald cap several times before being Ceret, Cristina Patterson. Professional successful, and it is time consuming. VisionCare Associates, contact lens We refer to Edward French (www. information. www.fx4eyes.com. edwardfrench.com) for his instructional French, Ed. “BALD CAP” The Instructional DVD. It’s an excellent source for the Video. www.edwardfrench.com. 131 demonstration and application of bald caps. Ed gives great information and instruction, Myers. Kenny. Premiere Products, Inc., and it is fun to watch. We feel you will Green Marble Stretch and Stipple. greatly benefi t from a visual lesson rather www.ppi.cc. than the text lesson in the area. Richard Dean [email protected]

REFERENCES Huston Mercer [email protected] Mark Traynor Lifts and BeautyBand Glavan Richard Corson James. 2001. Blocking Out Eyebrows With Plastic Film, Stage

Hair 9

© MARY BIRCHLER DESIGNS 134 HAIR to havethebest. Earlyinyourcareer,you skill andexpertise;itsavestime andmoney “hire out”jobsthatrequirea highlevelof certain looks.Itisnotuncommon todayto Producers andDirectorson how tocreate beneficial during conversationswith well-rounded professional,butisextremely aspects ofyourfield notonlymakesyoua you. Havingaworkingknowledgeofall Makeup Artistbeforedecidingwhatsuits skills thatarerequiredtobeaprofessional areas ofmakeupartistry.So,learnallthe is, itwilltakeexperienceandexposuretoall working experiencetoknowwhatyourforte hair willlimityou.Untilyouhavethe your option.Notlearningtoworkwithfacial accept jobsrequiringtheseskills,thatwillbe not usethem,andpreferto“hireout”or you choosetonotpolishtheseskillsor facial hair.If,atsomepointinyourcareer, need tolearntheskillsforworkingwith Artist workinginfilm andtelevision,you that inordertobeaprofessionalMakeup become sospecialized.Wedisagree,andfeel today’s market,becauseHollywoodhas feel thathairexperienceisnecessaryin There aremanyprofessionalswhodonot includes facialhairandsideburns. that isappliedtoorgluedontotheface;this Makeup Artistisresponsibleforanything In thefi lm andtelevisionindustries,the burns, beards,falseeyebrowsandlashes.” Application ofallmoustaches,chinpieces,side art ofmakeup,whichincludes: Makeup Artists:“MakeupArtistsperformthe IATSE Local706’sgeneraldefi nition of the problem. Accidents dohappen. be relievedandpleasedby your abilitytofi situation—not tomentionthat theactorwill the skillsandresourcestotake careofthe well-rounded MakeupArtist, youwillhave laying hairorapplyingalace piece.Asa because youareabletofi x theproblemby your fi lm continuitywillnotbeaffected the shapeofhissideburns.Inthisinstance, has shavedoffhismustacheorchanged when anactorshowsupinthemorningand there willbethoseaccidentalmoments designs thatyouareassigned.Forexample, do nothavetoworryaboutthemakeup Artist thatisskilledineverything,sothey Most DepartmentHeadswillhireaMakeup television industries. that youwillneedinthefi and theessentialbackgroundexperience so willgiveyouamorecompleteeducation, area ofmakeupdesignisnotforyou.Doing specialize inonearea,orthataparticular Artist beforedecidingifyouwantto required tobecomeawell-roundedMakeup best interesttolearnalloftheskills that istheirforteorpassion.Itinyour specializing inoneareaofmakeupdesign level ofexperienceinallareas,priorto specialize havedonesoafterachievinga Remember, thoseMakeupArtiststhatdo budgets andcannot“hireout.” will beworkingonprojectsthathavesmall the beginningofyourcareer.Youmostlikely required tobeaprofessional,especiallyin happen ifyoudonothavealltheskills needs. Thisisanexampleofwhatcan Department thatcanhandleallthemakeup so theProducerswillhireaMakeup available budgetto“hireout”specialists, will behiredforjobsinwhichthereisno lm and/or lm x Erwin H. Kupitz is a Makeup Artist and Once all the script information is collected, Wig Maker. He trained in a classic German the design process starts. You will need: apprenticeship, which includes a unisex • A template or live cast of the actor hairstylist license, makeup artistry, and wig making for fi ve years, with three • A hair sample from the actor examinations and one fi nal examination. • Reference of the fi nal look to be created Unfortunately, there is no longer an • Approval of the design apprenticeship program of this magnitude in the United States. This is a wonderful • Approval from Production on cost, and a method of training becauses the learning purchase order issued with instructions period is long, and the practical experience for billing is invaluable. Erwin did specialize when he migrated to the United States, after seeing PRO TIP the need for wig making and facial hair, and 135 recognizing that Hollywood had evolved When ordering anything, you need a pur- into an industry with specialization for each chase order number to give to the vendor. area of makeup. This gives the vendor permission to start work, and is a guarantee of the agreed-upon Erwin will guide us through the design, price and payment. laying of facial hair, and lace facial pieces. Things to think about before hand:

• What is the period of the project (current, TEMPLATE past, future)? When possible, have the Wig Maker do the • Who will wear it, and what medium are template or face cast. This is helpful to them you working in? in making their pieces. If it is not possible • How many shooting days? to have them come to the set, or if you are • Interior or exterior, rain or snow? What is on location, knowing how to make a the climate? template will save you time and money.

MAKING A FULL-BEARD TEMPLATE PRO TIP by Erwin H. Kupitz The questions affect how many pieces are made, and how much hair you need. HOW TO MAKE A PROPER FULL-BEARD TEMPLATE OF AN ACTOR’S FACE If it is a reshoot, and you are matching Materials and Tools Needed: something that was shot one year ago, what • Eyebrow pencil are you going to match to as far as shape and color? Is there a good photo for • Plastic wrap reference? • Clear tape or matte tape 136 HAIR Camera(digitalorinstant) • Tissueorcottonpads • Babyoilormakeupremover • • Scissors • Permanent markers shadow oftheactor,andmark itonhisskin. Using theeyebrowpencil,follow thebeard FIGURE 9-2:ACTORCOVEREDWITH CAPE First, covertheactorwithacape. FIGURE 9-1:ERWINH.KUPTIZ’SWORKSTATION FIGURE 9-4:CHINVIEWOFEYEBROWPENCILMARKING SHADOW ONACTOR’SFACE FIGURE 9-3:EYEBROWPENCILMARKINGOFBEARD covered withplasticwrap. eyebrow pencilnotes(markings) areall top oftheactor’shead.Make surethatyour plastic wrap,andsecurewith tapeonthe mustache fornow)withasingle layerof Cover thebeardarea(anddisregard Take special care below the chin and around the neck, making sure that the taped plastic wrap is tight. Two to three layers would be appropriate.

137 FIGURE 9-5: BEARD COVERED WITH A SINGLE LAYER OF PLASTIC WRAP

Start using clear tape, and tape over the plastic wrap. Make sure that the tape is tight around the chin. This is very important for a proper ﬁ tting of the lace beard around the FIGURE 9-7: TAKE SPECIAL CARE AROUND THE CHIN FOR A TIGHT FIT chin.

FIGURE 9-6: USING CLEAR TAPE OVER THE PLASTIC WRAP FIGURE 9-8: CHIN FULLY TAPED 138 HAIR pencil markingsontothetape. permanent markertotracetheeyebrow cover againwithtwolayersoftape.Usea Now proceedtothesidesofbeard,and FIGURE 9-10:SIDEVIEWFULLBEARD TAPE FIGURE 9-9:FULLBEARDWRAP FIGURE 9-12:LIPDETAIL FIGURE 9-11:MUSTACHELIPTAPE pieces betweenmustacheandchin. the mustache,lippiece,andtwoconnector After thefullbeardisdone,dosameto Now cut out the beard template above the permanent marker lines about 2 mm to 3 mm, and try the entire template again. Take special care around the chin. The template should lay tight around the chin and below the chin, and should lay ﬂ at onto the actor’s hair at the sideburns.

139 FIGURE 9-15: CLEANING MODEL

Cut out a hair sample from the actor’s own hair. If the actor’s hair is too short, refer to a FIGURE 9-13: FINISHED TEMPLATE swatch ring or hair color swatch book for reference. Sometimes sending hair from another source, such as a wig or someone else’s hair, is an alternative. Try to make a base that matches the desired skin tone of the actor, or a ﬁ nal skin tone of a character, and spread it onto a clean white paper or in between two layers of plastic wrap. This sample is needed as a guide to color the lace.

Double-check to make sure you have all of the items needed by the Wig Maker before you release the actor. (The approximate time to make a full beard is about four working days in backup or doubles.)

FIGURE 9-14: TEMPLATE CUT AND CHECKS MASKING TAPE TECHNIQUE Use a lip or eyebrow pencil and masking After the beard template is checked and tape to transfer markings from the face into fi nished, while the eyebrow pencil markings the tape. This technique is very good for are still on the skin, take photos from all small or partial facial-hair additions. It also sides. Clean up the actor’s face. works well on a clean-shaven face. 140 HAIR USING ABROWN EYEBROW PENCIL FIGURE 9-17:MARKINGSFORSIDEBURN EXTENSIONS Procedure • Towel Loosepowderandbrush • • Scissors Eyebroworlippencils • • Masking tape Material and Tools Needed: BROWN EYEBROWPENCIL FIGURE 9-16:MODELWITHMARKINGSUSINGA design newshapesormarkspecialpatterns. facial hair.Ifneeded,differentcolorshelpto growth patternandshapeofthemodel’s facial-hair additionsortracethenatural Using theliporeyebrowpencil,markall beard. of thepatternandatightfi t ofthefi curve. Thiswillensurethe proper shaping the tapeispressedtightagainst thechin around thecurvesofchin tomakesure pattern, specialcarehasto be taken If doingafull-beardorchin-beard minutes isrecommended. rubbing andpressingforabouttwotothree the adhesive.Acombinationofgentle grease intheeyebroworlippencilinto pressure fromyourhandswilltransferthe hand. Theheatofthetowelaswell wrapped andpresseddowntightwithyour minutes inawigdryer),theareasare Using awarmtowel(warmedfor10 LIP PIECEWITHTAPEDAREAS FIGURE 9-18:SIDEBURN,CHINBEARDEXTENSIONAND are created. extensions andtheadditionofalippiece demonstration, sideburnandchin-beard be toomuchofabuildup.Inthis more thantwolayersbecausethiswould layers overthemarkedareas.Trynottouse of maskingtape,andapplyoneortwo After allmarkingsaredone,usesmallpieces nal lace nal PRO TIP Use a loose face powder and powder brush to powder removed tape pieces.

FIGURE 9-19: A WARM TOWEL AGAINST THE CHIN TAPE

After the pressing and rubbing is done, 141 start carefully to remove the tape from the face. The markings are transferred into the tape.

Remove the tape carefully from the face.

FIGURE 9-21: USING LOOSE FACE POWDER AND POWDER BRUSH ON REMOVED TAPE PIECES

The beard template can now be cut out and applied to a beard block, ready for making the lace pieces. After the lace pieces are done, it is recommended to store them together with pictures of the actor, as well as hair color and lace color swatches, in a plastic bag or box for future reference.

Tools in the photo of Erwin’s workstation FIGURE 9-20: REMOVING TAPE CAREFULLY FROM THE (Figure 9.22): FACE • Cutting comb for combing hair during cut • Rattail comb for separating and The removed tape pieces are organized on a sectioning towel and are ready to powder. Using loose face powder, powder the tape pieces to • Small hair clips to secure separations prevent them from sticking together or • Lifting comb for detangling and lifting getting messed up. permed hair 142 HAIR • Lace pieces • 99 percent alcohol Tattoocolor fordetailworkonfi • Plasticsealerinpumpbottleorastrong, • Mustachewaxorstrongerhair • workstation (Figure9.22): Products inthephotoofErwin’s Pinkingshearsforprecuttingtheexcessive • Naturalbristlebrushesforwaxandtattoo • Smallmarcelironfortexturizingand • Flatcurlingironforliftingand • • Ceramic iron heater Tweezersforeventualpluggingand • Haircuttingandthinningshearsaswell as • PRODUCTS TOCUTANDSTYLEFACIALPIECES FIGURE 9-22:ERWIN’SWORKSTATION:TOOLSAND beard fast-drying hairlacquer lace color curling shaping finishing ofhairline razor forcuttinghair nished CUTTING ANDSTYLING FIGURE 9-23:CHARACTERLACEBEARDPRIORTO directions. Matchtheactor’s skincoloror fabric dyefollowingthemanufacturer’s dyed nylonlaceusingablend oflayers The baseismadeofonelayer ofcustom Th coming outofthefollicle. knots tocreatetheillusionofhair beard lineisalwaysthefi nest qualityof materials andhairareused.Thehairlineor design ofthefacialhair,willdictatewhat The mediumofthelacepiece,aswell important. the blendingofcolorsareextremely look real.Thequalityoflaceandhair fi lace, andqualityofhair.Mostlacepiecesin double knotting.Therearemanyversionsof XVI ofFrance.Thereissingleknottingand a rug,andhasbeenusedsinceKingLouis synthetic) intowiglace.Itissimilartotying Makers toknothair(eitherhumanor Ventilating isthetechniqueusedbyWig VENTILATED BEARD CONSTRUCTION OFA lm donot usesynthetichair—itdoesnot e Base the foundation makeup used on the actor as closely as possible.

Construction includes seven separate pieces: chin, two side pieces, one lip piece, two connections, and one mustache. A light coat of acrylic spray is applied before hair ventilation to the ﬁ nish base. This adds durability.

Th e Hair FIGURE 9-24: A BEARD SEPARATED IN SECTIONS Use human hair from different origins READY TO CUT INTO SHAPE (Asian, Indian, European), as well as yak tail and belly hair. Blends of thicker and coarser 143 hair are used at the bottom of the beard for body. Thinner, ﬁ ner hair is used closer to the edges.

All hair is custom color blended using How to Cut Facial Hairpieces darker colors at the bottom and lighter A good haircut can eliminate half of colors at the edges, then permed using a the styling and maintenance later on. mild alkaline perm. The diameter of the Because perming is done on the hair, it perm rod will determine the curling result. needs to be treated like curly hair, which In this case, a medium to small perm rod is means caution is needed during cutting. chosen for a frizzy, “ungroomed” result. Texturizing and cutting with razor and This will ensure that the beard keeps the thinning shears (cutting different length shape, and restyling will be limited to a into the hair) will give a more natural minimum. appearance of “beard hair.” Blunt cutting a straight line, especially on the mustache, will result in an unnatural “fresh-cut look” Ventilating Hair that is very “eye-catching” for the camera. Knotting the preblended and permed hair The proper cut for a beard is as important into the lace base is done hair by hair as the proper cut for a hairstyle. If the (single-hair knotting), using the various cutting and texturizing are ﬁ nished and the color blends to design natural shading and permed hair is reactivated with water, let highlighting. Lighter colors are always used dry naturally. around the edges of the beard (front shade), building up more volume at the bottom and The beard shape and style should be in areas where denser beard growth appears, almost completed after proper cutting. and decreasing the amount closer to the Finishing can be achieved with curling edges for a natural appearance. irons. 144 HAIR of thedesign. blended inlengthintothesideburn this guideline.Thesidesofthebeardare except forthesidesofbeardiscutto hair willgivealayered-haireffect.All Elevating yourhandwhileyourazorthe CUTTING THEHAIRONTOTHATGUIDELINE FIGURE 9-26:USINGTHEGUIDELINEREFERENCE, A RAZOR FIGURE 9-25:CUTTINGALENGTHGUIDELINEBYUSING PIECE TOTHEDESIREDLENGTHANDSHAPE FIGURE 9-28:USINGTHERAZORFORCUTTINGLIP TEXTURIZING OFFULLBEARD FIGURE 9-27:FINISHEDCUTTINGANDBASIC FIGURE 9-31: MISTING THE PRECUT BEARD WITH FIGURE 9-29: SEPARATIONS FOR CUTTING THE WATER AND LIFTING HAIR USING A LIFTING COMB MUSTACHE GUIDELINE AND CONNECTING PIECES BELOW THE MUSTACHE

145 Mist the precut beard with water, and lift hair using a lifting comb, so the curl can go back into its permed style. The beard is then dried in a wig dryer on a low setting: 100ºF, or 45ºC.

FIGURE 9-30: CUTTING A GUIDELINE TO THE DESIRED LENGTH WITH THE TIP OF THE RAZOR

FIGURE 9-32: LIGHTLY WAXING DRIED HAIR WITH MUSTACHE WAX AND A BRISTLE BRUSH Cutting a guideline to the desired length with the tip of the razor cuts the mustache in the same manner. Make sure After the hair and the base (lace) are truly that both sides are even in length and dry, the hair is then lightly waxed using shape. All of the hair is then cut to the mustache wax and a bristle brush. The wax length of that guideline with the tip of the will protect the hair from the heat of the razor. curling irons and from moisture. The facial 146 HAIR building texture,movement,andstyle. longer beardsandfacialhairpiecesfor practice, thistechniqueisusefulforall hairstyles. Usingartisticinputaswell or marcelwavessimilartothein that thetexturedoesnotappearlikefi technique isused.Cautiontobetaken a smallmarcelcurlingironandwaving To bringthepermedtextureintoshape, curling ironsandtongs. hair isnowreadyforfi nal stylingwiththe WITH AMARCELCURLINGIRON FIGURE 9-34:SHAPINGTHEFACIAL HAIRANDBEARD WITH AMARCELCURLINGIRON FIGURE 9-33:SHAPINGTHEFACIALHAIRANDBEARD nger the hair. by liftingandslidingawarm fl under. Arootliftisapplied totheedges ends atthebottomofbeard areblended mustache hardlyneedscurling. Onlythe of theuseperm-texturedhair, the mustacheandlippiece.Because A fl atiron, ortongs,isusedtoshape THE MUSTACHEANDLIPPIECE FIGURE 9-36:USINGAFLATIRONORTONGSTOSHAPE BEARD PRIORTOSTYLINGTHEMUSTACHE FIGURE 9-35:FINALTOUCHESONTHETEXTUREOF beard priortostylingthemustache. Final touchesaredoneonthetextureof atiron to atiron FIGURE 9-37: USING TATTOO COLOR AND 99% FIGURE 9-39: A FINISHED, STYLED BEARD BEFORE ALCOHOL FOR COLOR TOUCH UPS REMOVAL FROM THE BEARD BLOCK

147 hair into the beard color. Be careful not to Final color touch-ups are done using tattoo make it too opaque or even too dark. The color and 99 percent alcohol. beard line should still be lighter than the beard for a natural effect. This technique will keep the edges soft, and knots will blend more easily around the edges with the skin color. After coloring is done, a light coat of matte clear acrylic spray is applied to the ﬁ nished beard.

Figure 9.39 is a photo of the ﬁ nished, styled beard before removing it from the beard block.

SAMPLE APPLICATION OF FIGURE 9-38: APPLYING TATTOO COLOR WASH TO A A BEARD WITH STUBBLE BEARD WITH AN EYEBROW BRUSH Materials Needed: • Chin lace piece Using an eyebrow brush with a lash comb • Lower lip piece attached, a tattoo color wash (more alcohol than color, like an aquarelle color drawing) • Sideburns similar to the beard’s color is then brushed • Chopped curly hair matching beard color over the lighter shades around the edge • Scissors, thinning shears (front shade). Brushing and immediate combing of the hair will make blending • Metal tail comb easy. It is important to keep the knots light, • Adhesive (W.M. Creations, Inc. while softly blending the ends of the lighter Adhesive) 148 HAIR Concealerpencilinskintonematching • • Makeup cape • Cotton swabs • Alcohol, 99 percent • Brushes • Makeup sponges • Hair spray Tattoocolor(e.g.,ReelHairPalette) • . Stippleadhesivewithyourfi 4. Brushathinlayerofadhesiveontothe 3. Startapplyingthechinbeard.Checkits 2. Startwithacleanface. 1. Steps Application: for . Useanewcotton swaborafi 7. Useacottonswabdampenedwith 6. Gluethelacepieceinplaceusingyour 5. actor markings ofthelacepieceedge. skin, stayingabout1 cm belowthe piece belongs. to markdotswheretheedgesof placement, andusetheconcealerpencil adhesive totheskin.Tackit with brush toapplyaverythinlayer of concealer markings. alcohol tocarefullyremoveyour minutes, andabitofpractice. against theskin.Thiswilltakeafew do notgluedownthebeardhairfl at thebaseoflace.Makesureyou press withthetailinbetweenhair rattail comb.Itisimportantthatyou over theconcealermarks. repeat. Becarefulnottogetadhesive tacky. Applyathinsecondlayerand nger until nger ner at 2 Brushinalittletattoocolortoblend 12. Cutthesideburnhairtomatch 11. Applythesideburnsinsame 10. Applythelippieceinsamemanner. 9. Presslacepiecegentlyintoplaceusing 8. actor’s hairandthefalsesideburns. possible colordifferencesbetweenthe length, usingthinningshears. actor’s ownsideburnhairatthesame gap inbetween. the actor’sownsideburns,withouta position themdirectlyatthebottomof manner. Itisimportantthatyou beard piece. easier thantheplacementofalarger Placement ofalippieceshouldbe don’t needtousetheconcealerpencil. Because itisverysmall,youprobably down totheskin. edges untiltheyaresmoothlyglued your cleanrattail.Continuepressingall tacky. your fi nger orabrushuntilfl glue mustbetotallymatte. off theedgeoffacial-hairdesign. The to beoverlaidwithhairbyhand tofi nish face, withalowerhairlineedgethathas sections thatpuzzletogetherontothe The lacepieceshavetobedesignedin shows everydetailsocrisplyandsharply. more diffi cult becausethehighdefi nition Lace facialhairpiecesforHDaremuch PRO TIP at and at 13. After all of your lace pieces are applied, stubble. If you do not follow the natural you can start using chopped hair to growth pattern and beard line of the person, create a patchy, shorter beard stubble. it will not look real.

Lace facial hairpieces require an In some cases, the actor’s own beard growth investment of time and money that pays off and growth pattern is minimal or sparse. You in the long run. The work and materials will still need to follow the person’s own used are expensive, but the result is a more beard as a guide. If you choose to add more natural, consistent look, with easy to make the stubble read better on camera, maintenance. be careful—your stubble will look unnatural if you add or fi ll too much on an actor with BEARD STUBBLE sparse growth. As with everything else in makeup, there are Hair color for beard stubble needs to be several ways to create beard growth that a blend of colors, with highlights and 149 looks like more than several days of growth. lowlights—and in some cases, a bit of There are different products and techniques auburn or red added. Use caution with to use, depending on the situation you are adding too much red to your blend—this working in. As with all areas of makeup, can look too artifi cial, even if the actor has a you will need to be able to answer critical lot of red in his own beard. questions before designing or choosing what to use. The hardest beard growth to Careful hair color blending with proper simulate is between fi ve and 10 days, too placement will sell the look. We will look at long to be painted in, and not long enough creating beard stubble by using a hair ball, a to use lace pieces. You will need to use one lace net, and a makeup brush. of several techniques to create the look and length needed. The length of hair for beard ERWIN KUPITZ’S HAIR BALL stubble will depend on what the length of METHOD time passage is, or how scruffy the look is The chopped hair should be no longer than designed to be, or how many “story days” in 0.5 cm, otherwise it will be very hard to the script that the actor has not shaved. The apply. actor’s own beard growth and density will Prepare the chopped hair by making little also effect your decisions. hair balls of about the size of a walnut. The What is the growth pattern like, what color chopped hair is placed in the palm of your is the hair, how old is the beard growth, hand and then rubbed in a circular motion and how many days will you have to between your two palms until a ball is recreate the look? These are all questions formed. This can also be done in advance to you will need to have answers for. Look at save time. If you do so, spray the prepared the growth pattern of the actor—this is your hair balls lightly with hair spray, and store guide for placement of hair stubble. This is them in a plastic box until you are ready to very important in creating realistic beard use them. 150 HAIR . Applyonlyonelayerofadhesive, 1. Hair BallApplication: now complete. pieces incombinationwith chopped hairis Your character’sbeardapplication usinglace curly texture,itcannotlay fl apply itdirectlytotheskin.Becauseof Chop thehairtoabout0.5 cm length,and don’t havetobuildahairballoutofit. you canusechoppedpermedhair,and For actorsandbeardswithacurliertexture, Afterallofthehairhasbeenlaid, 6. Continuethisprocessuntilyouhave 5. Lightlytouchtheadhesivewith 4. Quicklypulloneofthehairballsapart, 3. Stippleadhesivewithamakeupsponge 2. starting closetothechinlacepiece. on theskin. sheen effect,anditisveryuncomfortable the skin,becausethiscouldcreatea sure thatyoumistonlythehairandnot while youaresprayingthebeard.Make actor holdhisbreathandcloseeyes straight intotheactor’sface.Have beard. Becarefulnottopointthebottle spray alightmistofhairoverthe fi unnatural. to theface.Ifyoudo,itwilllookvery like realbeardhair.Donotpresshairfl at adhere totheface,anditwillstandout away fromtheface.Theshorthairwill standing hair,andpullthehairquickly separated. sticking outoftheballwhereithasbeen and youwillnoticethattheshorthairis until fl at andtacky. nished your design. at. FIGURE 9-40:MODEL/ACTORBEFOREBEARD . Whilethechoppedhairisstillwet,press 4. Laydownapieceofhairlaceintothe 3. Pressdownwithasoftclothtotakeout 2. Applyspiritgumadhesivetothesurface 1. LACE METHOD: MATTHEW MUNGLENET BEARD) FIGURE 9-41:MODEL/ACTORINCHARACTER(AFTER brush, sponge,oratomizer. it intothelaceusingastiff makeup adhesive. or mattetheshineofadhesive. of thebeardareatobestippled. 5. Before the adhesive dries, pull the lace With a clean, medium-sized makeup brush, up and away from the face, leaving the pick up the desired amount of chopped hair cut hair behind, standing straight up or from the tissue by dipping the brush into at the angle the lace net is pulled off the the hair on the tissue. skin. Using a quick, light motion with the end of BEARD STUBBLE WITH BRUSH the brush, apply at a slant to the beard area. The quick hand motion, or stipple, needs to For stubble looks by hand, you can choose barely touch the skin to create a raised to use a medium-sized makeup brush or beard area. If you hit the brush with too a small atomizer, with a matte spirit much pressure, the hair will stick fl at. It gum adhesive or beard stipple wax by helps to have a bit of static electricity in the KRYOLAN. We will show you this makeup brush. You can get static in your technique using the makeup brush and brush by rubbing the brush quickly back stipple wax. The wax is clear on the 151 and forth over a towel. skin no matter what skin tone, and has no shine whatsoever. This is a huge Go back with a small, stiff brush advantage for HD and close-up work. If you or tweezers, and lift any hair that is use spirit gum, we recommend W.M. not sticking out straight. You do not Creations, Extra Hold Matte Adhesive. Blend want any hairs to be laying fl at against the and prep your hair using at least two colors skin. of hair. Sometimes there can be clumps or patterns Lay white facial tissue on your workstation that you will need to thin out. or counter. Be gentle. This application is fragile, but Wet your hair with a small amount in your easily touched up. hand. Hold over the tissue, making uniform Remember, with all hair applications, to cuts to the hair, so that the chopped hair stand back and really look at your work, as drops onto the tissue. well as getting up close to the skin and Let the chopped hair dry on the tissue. checking. Check your work in the makeup mirror from all angles, by rotating the actor Remember, it is best to cut the hair when around. wet, and to take care making each cut the same size. If you believe it up close, so will the camera. There is a tendency to make your cuts too long. Look at your fi rst cut of hair to check GLUES length. Hair needs to be completely dry In fi lm, television, and HD, use only matte before being applied to the face. adhesive. The application is very important Apply beard stipple wax over the beard area because any shine or glow from the of the face where you want to apply hair. adhesive under the lace piece will register. 152 HAIR and worksverywellwithlacepieces. K.D. SpiritGumisaprocessedspiritgum, application, butdriesclear. but strong.Itisgreenishincolorduring W.M. Creations,Adhesiveislightweight real facialhair. This willcausetheviewertorealizeitisnot removes someadhesivefrom thelace.Any actual removalofthelacefrom theskinalso spirit gumorlightweightadhesives, the lace andre-dressthepieces. Withclassic from theactor,youwillneed tocleanthe Once thelacepieceshavebeenremoved CLEANING THELACE than latexadhesives. small piece,Pros-Aideusuallyworksbetter pieces arenotreusedthenextday.Ifitisa facial hairworks—inotherwords,thelace each day,foralloftheshootingdays Exception: Ifyouhaveanewlacepiecefor lace pieceanditsedges. lace withoutthedangerofdestroying avoided. Itisimpossibletocleanitfromthe Any kindoflatex-basedadhesiveshouldbe ADHESIVES TOAVOID not recommendedforusebythebeginner. All oftheadhesivesdryveryfast,andare adhesive. dipped intothethinner,then spirit gum.Thebrushusuallyhastobe the applicationisslightlydifferentfrom Telesis comeswithitsownthinner,and ALTERNATE ADHESIVES Matte Adhesives:99percentalcohol. ratio). (1 :1 a mixof99percentalcohol andacetone Classic SpiritGum:Easycleaningwith being used: depending ontheglueand/oradhesive The cleaningagentisdifferent, re-dressing. The piecesarereadyforblockingandany Aftertheentireadhesiveisremoved, 5. 4. Dipthebrushintocleaningagent, 3. . Inasaucerorplatefi 1. lled withthe the followingsteps: adhesive leftonthelacecanberemovedby . Laythepieceonatowel,buttryto 2. evaporate for10to20minutes. place thepiecesonacleantowelandlet eventually fallout. hair, andtheknotswllappearlarger knotting. Thisresultsinopeningtheknotted Very important:Neverbrushagainstthe to theupperlip. mustache, brushfromthenostrilsdown the knottingonlace.Example:Ona Important: Alwaysfollowthedirectionof the lace. and brushoutanyleftoveradhesivefrom cleaning agentabout avoid pressingthehairfl longer itneedsinthecleaningbath. minutes. Theheaviertheadhesive, solution. Letitsetforonetotwo the haircoveredentirelybycleaning facing down(hairup).Trynottohave the piecesinsolutionwithlace 1 / 2 inchdeep,lay at. Silicone-Based Adhesives: Use special from kinky straight (Asians, Indians), to cleaner that often has a slight oil base in it. slightly wavy (European), to kinky curly Lay the facial hair in alcohol after using (African). All hair used for knotting into these cleaners, and let soak for a few wig lace is custom permed before minutes to dissolve the oil. Remove, do not ventilating into the lace, and therefore will comb, and let dry without stretching the not turn straight if it gets wet or during lace, on a clean towel. After the facial hair is cleaning. completely dry, it can be re-dressed. Quality facial hair takes all kinds of hair Latex-Based Adhesives: Need a heavy oil origins into consideration, and the and alcohol mix. Try a mix of baby oil and texturizing creates the look of real facial alcohol (1 : 1 ratio). hair. The color design enhances the simulation of the facial hair, again creating A stiff bristle brush is used to brush off the the illusion of a real beard. residue of the latex—this is labor-intensive. 153

Beard Stubble Wax: Cannot be used with REFERENCES lace pieces as an adhesive. It is a tacky wax Cimuha, Inc. paste, and the lace hairpiece would not Erwin H. Kupitz, Wig Maker successfully stay on. Design, laying of facial hair and lace facial pieces HAIR TEXTURE Tel: 818-769-6465 All facial hair needs to be texturized before applying it to the face. The texture varies

Airbrush 10

© MARY BIRCHLER DESIGNS 156 AIRBRUSH opens afi the amountofpaintbyusingatriggerthat atmospheric pressure.Theoperatorcontrols from aninterconnectedreservoiratnormal (suction) thatallowspainttobepulledup creates alocalreductioninairpressure (compressed) airthroughaventuriwhich works bypassingastreamoffast-moving by aprocessofatomization.Anairbrush including inkanddye,butmostoftenpaint, air-operated toolthatspraysvariousmedia, What isanairbrush?Anairbrushasmall, airbrush andcarefortheequipment. extreme disadvantagetonotlearnhow you toairbrush.Youwouldbeatan situations, theDepartmentHeadwillrequire to createthelookthatisneeded.Inother makeup design,youwillhavetoairbrush are workingwith.Insomesituations,orin for theartistandactor/talentthatyou tool thatisgoingtobeapersonalpreference your makeup.Theairbrushmachineisa HDTV. Airbrushinggivesafl and theatre—andisamainstayinHD used inallmedia—print,fi bruising, effects,andfantasy.Airbrushis body makeup,art,tattoocover, It isusedinallareasofmakeup:beauty, found anicheintheretailcosmeticworld. fi creating certainlooks,especiallyafl Airbrush makeupisnowamajortoolin . Action performedbytheusertriggering 1. Airbrushes havethreeusual characteristics: by Badger UNDERSTANDING YOURAIRBRUSH nish totheskin.Airbrushmakeuphasalso the paintfl ne-tapered needle. ow. lm, television, lm, awless fi awless to nish awless airbrushes. a larger-dotspraypatternthaninternal-mix assembly. External-mixairbrushesproduce come togetheroutsidethehead,orfl mix outsidetheairbrush.Airandpaint External Mix:Indicatesthatairandpaint spray pattern. produce athoroughlyatomizedfi together insidetheheadassemblyto Internal Mix:Thepaintandtheairmixes airbrush: airbrush mixeswithpaint,allowingyouto There aretwodifferentwaysan Thepointinwhichthepressure 3. Themechanismforfeedingthepaint 2. hand motion. the opacityofpaintwithout stoppingtheir width oftheline,range ofvalue,and maneuver allowstheartistto changethe (down forair,backcolor). Thissimple the triggercontrolsbothairandcolor Dual Action:Referstoairbrushesonwhich the frontofairbrush. by turningthefl uid caponthepainttipat or, inthecaseofanexternal-mixairbrush, adjustment screwatthebackofhandle, fl amount offl uid issprayed.Theamountof When thetriggerisdepressed,apreset which thetriggercontrolsonlyairfl Single Action:Referstoairbrusheson AIRBRUSH TRIGGERS uid isregulatedbyturningtheneedle square inch.) measurement ofairpressure,poundsper (PSI) andairmix.(PSImeans into theairbrush. ne-dot uid ows. FEEDS Gravity Feed: Refers to airbrushes with top-mounted color cups in which gravity draws paint into the airbrush. Less air pressure is required, enabling slower hand FIGURE 10-1: BADGER AIRBRUSH MODEL 100G movement, which creates excellent control for fi ne detail.

Bottom Feed: Refers to airbrushes on which paint enters through a siphon tube or color cup attached to the bottom of the airbrush. Removable jars or various-sized color cups can be connected to and utilized with FIGURE 10-2: BADGER AIRBRUSH MODEL 100MU bottom-feed airbrushes. This conﬁ guration 157 is generally more versatile and enables the user to change colors quickly. This is important when working with several colors at once. This enables the artist to move quickly when changing colors, as well as for storing colors during use.

Side Feed: Refers to airbrushes on which FIGURE 10-3: BADGER AIRBRUSH 360 UNIVERSAL a small color cup fi ts into the side of the airbrush. The side-feed color cup rotates, enabling the user to work on either a horizontal or vertical surface. The side-feed confi guration also permits the user to achieve fi ne detail without the possible sight obstruction of a top-mounted color FIGURE 10-4: AIRBRUSH MODEL OMNI 5000 cup.

Hybrid Airbrush: Airbrushes that have a combination of gravity and bottom feed. Badger 360 Universal: Airbrush is capable of performing in a gravity-feed as well as a AIRBRUSHES bottom-feed mode (Figure 10.3). Badger Model 100G: Gravity-feed airbrush Model Omni 5000: Gravity-feed airbrush 1 1 with /16-ounce color cup (Figure 10.1). with /8-ounce color cup (Figure 10.4).

Badger Model 100MU: Airbrush with Paasche VJR #2: Gravity feed, double 1 /3-ounce color cup and makeup-specifi c action, internal mix. Airbrush used to create head assembly (Figure 10.2). a wider range of tinting, shading, and 158 AIRBRUSH FIGURE 10-5:PAASCHEAIRBRUSHVJR#2 with alargeneedle-nozzleconfi Iwata HP-CPlus:Largegravity-feedcup right-handed airbrushers(Figure10.6). unobstructed view.Suitedforbothleft-and assembly andswivelleftorrightfor color cups.Cupsattachtotopofairbrush changes byincludingtwodifferent-sized two-to-one designallowsforquickcolor Paasche VSR90#1:Gravityfeed.Unique handed users(Figure10.5). changes. Goodforbothright-andleft- details. Colorcupisontopforeasycolor FIGURE 10-6:PAASCHEAIRBRUSHVSR90#1 products. Temptu offersalargeselection ofIwata have stipplefeaturesforeffectswork. Makeup Artistsoftenuseairbrushesthat PRO TIP guration. design, fi ne-detail work,andeasierspraying. Internal-mix airbrush,ergonomichandle quick changeofcustommixedcolors. Iwata HP-CR:Gravityfeeddesignedfor funnel shape. detail spraying.Generous-sizedcupand needle andnozzlecombinationforfi Iwata HP-CS:Gravityfeedwith0.35 mm new Microair-control-valvetechnology. need controlfordetailwork.Airbrushuses Iwata HP-CH:Designedforartistswho passageway. stippling effects.Airbrushhasashortpaint Fine-spray outputandentirerangeof the rangeofspaceyouareworking on. than necessaryunlessyouneedtofocus too small,theapplicationwilltakelonger control youhave.Whenthenozzleis things. Thesmallerthenozzle,more leaning towardthebodymakeupendof 8 mm airbrush makeup,bothfaceandbody,is propriate needle/nozzlerangeformost and foreffectsartistsveining.Anap- needle/nozzles arepopularforliningeyes, ability tokeepyourcolorsfocused.Fine- light toapplyfoundation,itgivesyouthe B, whichis0.2 mm. Althoughmuchtoo ratio liketheIwataHighperformanceHP- an airbrushwithaveryfi ne needle/nozzle Airbrush eyeshadowisbestappliedwith PRO TIP —David Klasfeld,CEO/Creative Director, Obsessive CompulsiveCosmetics, Inc + 5 mm, withthewideraper-tures ne- COMPRESSORS compressor also has dual quick-disconnect Terms Used With Compressors ports and dual built-in airbrush holders. CFM: Measurement of airfl ow. Iwata Power Jet Lite: Adjustable pressure Moisture Filter: Removing water from air. regulator, moisture fi lter, and built-in airbrush holder. Oil Filter: Removing oil from air. Iwata Silver Jet: Compact and quiet single- PSI: Measurement of air pressure. person use with working pressure adjustable Air Regulator: Adjusting air pressure. from 10 to 18 PSI. The compressor has a coiled air hose, pressure-adjustable knob, Iwata Smart Jet Pro: Compressor shuts off handle, airbrush holder, and pressure gauge. automatically when not in use. It has an oil- less piston air compressor with built-in Iwata Sprint Jet: A mounted air-pressure gauge with a bleed-valve airfl ow adjustment airbrush holder; moisture fi lters (removing 159 water from air) with an air regulator (adjusts to lower air pressure. Pressure working from air pressure); and bleed-valve adjustment to 1 to 35 PSI. Zero maintenance with an oil- release moisture. less piston air compressor.

PRO TIP PRO TIP Compressors with built-in airbrush Makeup companies (such as Mac Pro and holders are extremely convenient when Obsessive Compulsive Cosmetics) which working in a makeup trailer, especially offer small portable compressors often if you are working with an airbrush with use the Iwata Series. a top color cup.

1 Paasche DAS 00: /8-horsepower diaphragm Iwata Power Jet: Compressor has oil-less compressor with auto shutoff. Shuts off dual-piston air with a 3.5-liter air-storage when airbrush is not in use. tank. It has zero pulsation, moisture ﬁ lter, 1 and a mounted pressure gauge with air Paasche D100: /8-horsepower compressor regulator for precise air-pressure adjustment. delivers 15 to 25 PSI with most model airbrushes (Figure 10.7). Iwata Power Jet Pro: A compressor with a 2-liter air-storage tank with zero pulsation Paasche D3000: Oil-less diaphragm and an air reserve for spraying at higher compressor with tank-mounted unit, air pressures. It has dual adjustable pressure designed for compactness and portability. regulators plus dual moisture ﬁ lters and Air tank stores reserve air volume and dual mounted pressure gauges. The reduces pulsation. Air pressure in the tank is 160 AIRBRUSH FIGURE 10-7:PAASCHEAIRBRUSHD100 regulator (Figure 10.11). Produces 10to12PSIwith built-in Badger Model80-8xAirCompressor: Produces 10to12PSI(Figure 10.10). Badger Model80-7xaIRCompressor: Produces 3to5PSI(Figure10.9). Badger Model80-3MiniCompressor: to amaximumof40PSI(Figure10.8). regulated withanautomaticOn/Offswitch FIGURE 10-8:PAASCHEAIRBRUSHD3000 COMPRESSOR FIGURE 10-9:BADGERMODEL80-3MINI COMPRESSOR FIGURE 10-10:BADGERMODEL80-7XAIR kickback you’llgetfromtheproduct. on theface.ThehigherPSI, the more adjust thesettingsfordirectairbrushing lower PSIorcompressorsthatallowyouto In general,usecompressorswitha PRO TIP FIGURE 10-11: BADGER MODEL 80-8X AIR COMPRESSOR

FIGURE 10-12: AIR CRAFT AIRBRUSH SYSTEM 161

ALL-IN-ONE AIRBRUSH SYSTEMS Air Craft AirBrush System: Consists of an Small all-in-one airbrush systems have airbrush, compressor, hose, and blow-by- fantastic overall weight. Traveling with blow instruction booklet. The system is these compressors is a snap, and using housed in a small silver case weighing a one in small spaces is a breeze. Sometimes total of 4 pounds. The airbrush is single you just have limited space and needs; this action with 6 to 8 PSI (Figure 10.12). size goes anywhere, a great advantage for Air Pro AirBrush System: Includes two the professional. There are no fancy foundations of your choice, compressor, pressure gauges or moisture meters that single-action airbrush with 6-foot silicone make airbrushing intimidating. Air Craft, air hose. Air Pro, and Dinair are a few of the portable-airbrush companies on the market Dinair Mini-System Beauty Kit: today. Compressor weighs less than a pound. The system comes with a travel adapter (100 to 240 volts), and has a PSI of 0 to 7. The airbrush is a Dinair 400CA. Also included are stencils, instructions, and makeup PRO TIP (Figure 10.13). Small compressors with an output of 6 to 8 PSI are perfect for the face and small AIRBRUSHING PRODUCT LINES areas of the body, such as covering tat- by Bradley Look toos. People ask me all the time of the dangers of airbrushing. There is an unfounded fear about the airbrush. What I usually fi nd is 162 AIRBRUSH FIGURE 10-13:DINAIRMINI-SYSTEMBEAUTYKIT ground cosmetic-approvedpigments unlike thestandardliquidvariety:fi Water Based:Thistypeofmakeupisnot airbrush makeupavailable: Here arethesixformulabreakdownsof buying. Whatisinairbrushmakeup? important, whatkindofmakeupyouare know whatmakeupisavailableand,more success. Beforeyoustartusingthatairbrush, you’ll getthemostfromairbrushingwith suggestions onhowtousetheirproductsso makeup allhaveinstructions,plus Airbrushes, compressors,andairbrush and howproductsinteractwitheachother. on topofthemostcurrentinformation Artist, itisyourresponsibilitytostay to manyofthoseproblems.AsaMakeup sprayed insomeofthosecases,whichleads that airbrushingisnotbeingproperly after eachusewithwater. your airbrushequipmenteasy.Just clean Water-based makeupmakescleaning PRO TIP nely without fadingorwearingaway. it stayslooking“justapplied”allday available. Thisbrandofcosmeticclaimsthat of alltheairbrushmakeupscurrently Silicone Based:Thisisthenewestformula fl inks” associatedwiththeproductionoffaux makeup industryasthe“temporaryairbrush makeup isnormallyknownwithinthe Alcohol Based:Thistypeofairbrush the productonskin. of water.Thealcoholassistsinthedrying SD40 alcoholisusedasthesolventinplace listed above),withonemajordifference. like thepolymer-water-basedformulas(as Polymer-SD40-Alcohol Based:Thisisjust the skin. upon dryingproducesacontinuousfi makeup isairbrushed,thepolymervehicle used forairbrushmakeups.Oncethe formulation isoneofthemorecommonly Polymer-Water-Based: Thiscosmetic usually referredtoasaqueousdispersion. common solventfoundincosmetics,andis dispersed inwater.Wateristhemost esh art(tattoos). makeup.) thinner totheirsilicone-based airbrush airbrush cleanserthatalsoworksasa with silicone.(Example:MacProhasan be thinnedonlywithformulasthatwork to thinsoyoucanalterthecoverage Silicone-based productsthatyouwant PRO TIP lm on lm DHA Based: Although technically not really Dinair: There are three product lines considered an airbrush makeup, DHA available through this company: polymer (dihydroxyacetone) based products water based, polymer SD40 alcohol based, constitute the sunless-tanning systems. The and DHA. An airbrush cleaner is also use of the airbrush in spraying cosmetics manufactured. gave the sunless-tanning manufacturers an Duratat: A water-based tattoo ink idea: Why not produce a formula that can containing no alcohol. be atomized? Fantasy Faces: Polymer SD40 alcohol Now let’s talk about makeup and what is based formulation. Thinner for product also on the market today. Products are listed available. by their brand name and/or by the manufacturer’s name. All of the products Fashion Aire Foundation: Polymer water listed are prereduced to a consistency for based and sunless DHA formulation. An 163 spraying straight from the bottle. However, airbrush cleaner is available. if you should desire to thin the product Graftobian: Polymer water based as well as further, check with the manufacturer fi rst. polymer SD40 alcohol based. Both thinner Also, these products have been formulated and airbrush cleaner are available. to be atomized at a low PSI (pounds per square inch), usually between 3 and 6. JanTana: DHA sunless tanner. Using the right product for the right job Jomo: SD40 alcohol based. means a good makeup. Kett Cosmetics: Water based and polymer Airbrush Bodyart: Airbrush product SD40 alcohol based. An airbrush cleaner is available in both water and alcohol also available. formulations. DHA tanning system offered as well. KRYOLAN: Currently, kryolan has a polymer water based and an SD40 alcohol Airmakeup Cosmetics: Polymer water based product line. based product. MAC Airbrush: Polymer water based and AirPro Airbrush Makeup: A water-based silicone SD40 alcohol based. formula. The company also has a sunless- tanning solution. Airbrush cleaner available Make Up For Ever: Water alcohol based. for line. Mancini Airbrush Makeup: Water based Air Craft: A water-based formula. and offers an airbrush cleaner.

Bodyair: Polymer water based line of Marvaldi Makeup: Water-based products. formulation.

DCK Airbrush Cosmetics: Polymer water Michael Davy Airbrush Makeup: Polymer based product line. SD40 alcohol based. 164 AIRBRUSH applying acertainmakeup brand thatwould to mesayshewashaving ahardtime example isthinners.AMakeup Artistwrote chemistry maynotbecompatible. Aclassic manufacturers’ productlines—their don’t trymixingtogethertwodifferent brands interactwellwitheachother.So Remember tokeepinmindthatnotall uslu airlines:Polymerwaterbased. Trendy Tribals:Polymerwaterbased. water based. Totally TattooPartyBodyPaints:Polymer also availableintheline. silicone SD40based.Anairbrushcleaneris based, polymerSD40alcoholand Temptu: line. Airbrushcleaneravailable. SD40 alcoholbased,andDHAinproduct Su-do BodyArt:Polymerwaterbased, Stacolors: SD40alcoholbasedproductline. based formulaline. Skin IllustratorColors:SD40alcohol the line. based formula.DHAsunlesstanneralsoin Safari AirbrushMakeup:Polymer-alcohol- alcohol basedline. Reel CreationsBodyArtInks:SD40 based andSD40alcoholbased. Obsessive CompulsiveCosmetics:Water available inaDHAsunlesstanner. O2 Cosmetics:Water-basedformula.Also cleaner isalsoavailable. as DHAsunlessformula.Anairbrush Mist Mirage:SiliconeSD40based,aswell Water based,polymerwater FIGURE 10-14:AIRBRUSHINGATAN ANGLE . Usingstencilswhenairbrushingworks 5. Ifyouaregoingtoairbrushonthe 4. Holdtheairbrushatadownward45- 3. UseaPSIof3to6whenairbrushingthe 2. Lessismorewhenairbrushing.The 1. to workovertheyears. are afewairbrushmakeuptipsIhavefound the abovemakeupbrandsmentioned.Here product line.Thesamecanbesaidofany makeups dohavethinnerstogowiththeir using asathinner.Somesilicone-based chemical reactiontotheproductshewas the makeupissiliconebased,whichhasa the productshewasusing.Itturnsout not adhereorcoverwellwhenthinnedwith actually worksbetterandlooksmore well foreyebrows.(Note:Freehand eyelid, useaPSIof3orless. course, havetheactorclosetheireyes! area onthetalent(Figure10.14).Of degree anglewhenairbrushingtheeye back” oftheproductintoair. there willbealargerquantityof“bounce face. IfyouairbrushwithastrongerPSI, makeup shouldnotfeellikeamask. FIGURE 10-15: AIRBRUSHING IN A CIRCULAR MOTION FIGURE 10-16: TISSUE OR SHIELD

natural if the person airbrushing is quite AIRBRUSH LESSON FOR 165 skilled.) BEAUTY MAKEUP 6. When airbrushing the face, spray in by Kris Evans and Darla Albright small, circular motions (Figure 10.15). Makeup Artists Kris Evans and Darla This keeps the makeup even. Albright developed Air Craft Cosmetics to 7. Have a folded tissue or shield to protect meet the needs of the professional Makeup the hairline from overspray of makeup Artist as well as the consumer. From their (Figure 10.16). Do not add tap water vast experience in fi lm, television, theatre, to a water-based makeup to thin. Use HD, and print editorial, they felt a need to distilled water. Tap water contains develop a product that could be used with minerals that can contaminate or or without an airbrush. Kris Evans: compromise the chemistry of the makeup. I use the airbrush on everything and fi nd it much faster and easier. With HD becoming so popular, there is nothing better than the airbrush. Many of my clients also do red-carpet events that are mostly shot in HD. HD can be very PRO TIP harsh, so it is imperative the makeup be Read the ingredients of products you buy. fl awless. I really believe you must use the Many of the cosmetic and airbrush com- correct color in the foundation for the panies have products that work well with look to be natural. Easy touch-ups are each other. Know what you are buying. also essential, which is why we created Air You’ll have the best results possible when Craft Cosmetics. On set, I usually use a airbrushing. makeup brush for touch-ups. Because the foundation can be used with or without an airbrush, touch-ups are a breeze. 166 AIRBRUSH Moisturizer Cleanser Eyedrops Eyelash curler Tweezerman tweezers Excellent makeupbrushes Eye Shadow:AirCraftGlosses Lip Gloss:AirCraftGlossDuos powder Pressed Powders:AirCraftPerfectLayover based) Foundation: AirCraftfoundations(water the airbrushes based); usedwithabrushorsponge,not Primer: AirCraftPrimer(sheabutter course IuseAirCraft!”(Figure10.17). What’s inKrisEvans’smakeupkit?“Of . Setupyourstationwitheverythingyou 1. How tostart: airbrush willnotgivetheproperspray. the airbrush.Notcleanedproperly,your prevent themakeupfromdryinginside immediately aftereachuse.Youwantto It’s veryimportanttocleanyourairbrush PRO TIP need toairbrush. . Airbrushhorizontally3to4inchesfrom 4. Startthecompressor.Positionyourhand 3. Applythemoisturizerorprimerof 2. FIGURE 10-17:AIRCRAFTMAKEUPLINE start toadhereontothesurface ofthe with yourfi ngertip. You’llseeafi the face,pullingbackairbrush lever holding apencil. on theairbrushleverasifyouwere cap onyourairbrushtoavoidspills. drops ofwater.Remembertoreplacethe more translucenteffect,addonetotwo makeup intotheairbrushcup.Fora airbrush. Squeezesixtosevendropsof surface withstayingpowerforyour airbrush. Aprimerensuresasmooth with aspongeandnotthroughthe choice totheskinfi rst. Applytheprimer thinning airbrushmakeup. gested productbythemanufacturerfor of distilledwaterorspringsug- Keep onhandasmallsqueezebottle PRO TIP ne mist ne skin. Keep moving around the face in a 8. Set your makeup with a setting powder circular motion without stopping in one (for example, Air Craft Cosmetics’ Perfect place. It’s this constant movement that Layover Powder). You are now ready keeps the makeup even. Application to fi nish the rest of your makeup should take about 15 seconds. If any application. Sweep an eye color over the areas need more coverage you can lightly lid—and, if needed, a subtle eyeliner. airbrush a second coat of foundation to Top your makeup off with a fl attering lip those areas. gloss. 9. When all leftover makeup has been fully blown through the airbrush, detach the gun from the hose, and place the cup PRO TIP under running water to rinse thoroughly. The fi rst time you airbrush, put only water Connect your gun again to the into the cup, and spray onto your hand or compressor, and run through your 167 a tissue. This will give you a feel for the airbrush system to remove any makeup airbrush and how it works. still there.

Maintenance: After every few applications, pull the needle out and wipe clean. Be careful not to bend the top of the needle. 5. Have your actor close their eyes. Go to www.aircraftcosmetics.com for blow Then gently airbrush around the eye manual. area. 6. Corrective spot covering is easy. For under the eyes, you can use a shade AIRBRUSHING WITH STENCILS lighter than the foundation fi rst. Then by Dina Ousley, Founder, Dinair airbrush the entire face with the color Stencils are used in beauty airbrush makeup you chose. For problem spots on the to achieve a cleaner, softer, less made-up face, you can lightly spray a second layer look. With HDTV and digital HD cameras, of the foundation color. every detail is visible. Feature or fl aw, it 7. Adding color for blusher or highlighters shows. Airbrushing an entire makeup is is easy. Blow out any leftover makeup perfect for these technologies. Shields and color through the airbrush with a few stencils are used to protect areas of the face drops of water. Add your next color or body where you don’t want colors to go, choice to the cup. Blusher should be a while allowing you to defi ne perfect natural soft blushcolor applied by hand or an eyebrow shapes, lip shapes, and to feather airbrush. Lightly spray a highlighter and blend existing colors. At Dinair, we use color along the cheekbone, brow bone, shields (stencils) for beauty makeup, under the eye, or anywhere a highlight is fantasy, glamour, and tattoos. The following needed. sections explain how to work with and 168 AIRBRUSH skin) thatyou havesprayed.Thisallowsyou is thespacearounddots ofcolor(your Leave enoughopencoverage. Opencoverage camoufl the rightcoverage.Dotsare theultimatein pass, threeandsoon,untilyouhave to useonepassatatime—onepass,two coverage becomesmoreopaque.Makesure over thesamearea,dotsfi ll in,andthe Work inpasses.Apassiseverytimeyougo you don’tloseyourhighlights. shade overtheconcealer.Spraysparinglyso entire face,neck,andears.Spraythenatural fi applying thenaturalshade.Youneedonly lighter thantheperson’snaturalcolorbefore spots—lighten withoneortwoshades hyperpigmentation, birthmarks,orage dark aroundtheface—suchas actor’s skintone.Ifthereisanything dark, andblush-coloreddots.Lookatthe that themakeupconsistsoflight,medium, under amagnifyingglass,youwouldsee If youweretolookatairbrushmakeup technique calledbackbubbling. foundation colorsusingtheairbrushwitha color match,youcanalwaysmixyour pigment. Ifyouwanttocreateacustom liquid mustbeshakenbeforeusetocorrect the skintoneyouareworkingon.The Choose acolorthatisintheshaderangeof Apply aprimerbeforethefoundation. makeup isfreeofanymoisturizersoroils. where youchoosetospraytheairbrush Start withacleanface,andmakesurethat FOUNDATION makeup. apply theuseofshieldsinanaturalbeauty ve toeight dropsofmakeuptosprayan aging. . Tocreateacustomcolor,mix themby 2. Put twotothreedropsofliquideye 1. EYE SHADOW down sunspotsandaddtone. cup tospraythetopofhandsknock remainder oftheairbrushmakeupin the foldsandsquintlines.Youcanuse the airbrushmakeupdoesnotcollectinto Remember tosprayespeciallysparinglyso change direction,soshouldyourspraying. that theyappear.Ifthelinesandfolds gently openedandsprayedinthedirection the naturalfoldsandsquintlinesmustbe When sprayingaroundtheeyes,notethat to anevenapplication. with back-and-forthmovements.Thisiskey spraying foundation,usingcircularmotions about sixinchesawayfromtheskinwhile success. Keepthedistanceofyourairbrush opportunity. Sprayingsparselyisthekeyto blush. Wecallthisthewindowof natural rednessoftheskintobecome to fill inwithsomeblushcolororusethe airbrush. creating backbubbleswith your shadow intotheairbrushcup. create abronzingeffect. er thanskintone.Sprayovertheto and useabasethatisfewshadesdark- complexion, lowerthepressureofairflow, If youneedthepersontohaveawarmer PRO TIP 3. Keep the eye area clean and free from moisturizers or oils. Moisturizers can PRO TIP cause eye shadow colors to crease. When mixing custom colors in the air- 4. Set the airfl ow to 3 or 4 PSI. brush cup, hold a tissue in front of the 5. Hold up a shield (stencil) that follows nozzle to block the airfl ow. Then pull the the contours of the eye, and gently pull lever back until you see the colors start back the airbrush lever. to bubble and give off a marbling effect. Remove the tissue to restore airfl ow, and 6. In a small, continuous motion, spray the spray the airbrush makeup into the tissue shadow color by making several passes to see your new custom color. until you reach the level of color desired. Note: If you hold the stencil fl at against the skin, your edge will be more defi ned. Holding the stencil slightly above the 169 skin will give a softer feathered edge (Figure 10.18).

FIGURE 10-18: A MAKE UP CHART 170 AIRBRUSH . Changeoutanycoloryoudesirefor 1. EYELINER . Distancethestencil,allowing 3. Holdthestenciluptoyoureyebrow, 2. Youwillwanttoputatotaloftwo 1. Inthesamewayasforeyeshadow, 3. 2. Set the airfl EYEBROWS eyeliner. spray theentirebrow,orjust fi ll inthe look. Note:Youcanusethe stencilto giving themasoft,naturally feathered overspray tocoveranddefi ne thebrows, sharp edge. and bringitfl ush againstyourskinfora cup. three dropsofeyebrowcoloringinthe appear feathered. while airbrushingeyelinercolorwill eyeliner. Astencilheldjustoffthelid the eyelasheswillgiveyoudefi stencil helddirectlyonthelidcloseto with eachpass.Note:Aneyeshadow and-forth motion,buildingthecolor follow thenaturallashlineinaback- to 4. work, thewideryoureyelinerwillbe. The fartherawayfromtheeyeareayou PRO TIP ow onalowPSIofabout3 ned . Usealoosetissuetoblockoffany 2. Applyblushercolorbysweeping 1. BLUSHER Workfartherawayfromthelipstofi 4. Workonsmallsectionsatatime. 3. Takealipedgeandlayitfl 2. at againstthe Changeoutyoureyelinercolorforalip 1. LIP COLOR . Applylipglossoverthecoloredlipsfor 5. brows. eyebrows toagainhavenaturallybeautiful women whohavelostsomeoftheir needs. Thisisaparticularlygoodwayfor hair shapesthatcanbetailoredforyour sparse areas.Eachstencilhasaselectionof Dinair hashairstencilstofi skin—this willcreateahard line. careful nottoholdtooclose tothe unwanted colorintothehairline, being you need. made up.Asubtlehintofcolorisall airbrush. Thecheeksshouldneverlook across thecheekboneareawith line. Work closertothelipsforanarrower lips willgiveyouadefi ned lipline. Note: Layingthestencilfl at againstthe lips. color ofchoice. an extra-shinyfi the restoflips. eyebrow lookforyou. the tailofanother,creatingperfect to usethefrontofonebrowstenciland brow whereneeded.Youmayalsowant nish. ll in ll nish PRO TIP To fi nd the natural contours of the cheeks, have the actor smile while you airbrush the cheek color. Go to www.airbrushmakeup. com for video instructions.

FIGURE 10-19: THE SET UP HOW TO CLEAN YOUR STENCILS by Bradley Look 171 Productivity and the life of your stencils can be vastly improved with regular cleaning. Just as you should always leave your airbrush clean, so should you with the rest of your equipment. This is particularly paramount when working as a Makeup Artist who’s using an airbrush on talent. After all, you wouldn’t use dirty sponges or brushes, would you? A stencil comes in contact with an actor’s skin and should be cleaned frequently. Simple steps are FIGURE 10-20: POURING all it takes to maintain clean stencils. First, you’ll need the basic equipment to get started.

MATERIALS A solvent-proof tray (such as an enamel butcher’s tray, found in most art stores)

Paper toweling Powder puffs Isopropyl alcohol 99 percent Spray bottle FIGURE 10-21: WASHING THE STENCIL IN A TRAY A synthetic brush (with soft bristles) 172 AIRBRUSH 2. Carefully pour the isopropyl alcohol on top Carefullypourtheisopropylalcoholontop 2. Detachtwosheetsofpapertoweling 1. CLEANSING PROCESS TO BEGINTHEWHOLE FIGURE 10-23:CLEANINGWITHABRUSH FIGURE 10-22:CLEANINGTHESTENCILWITHPUFF small sectionbeforeimmersing it. material yourstencilismade of, checka unsure whetherthesolventwill affectthe saturated withthesolvent.Note: Ifyouare of thepapertowelingsothat it isentirely toweling willfi t insidethebutcher’stray. from theroll,andfoldsothat FIGURE 10-24:DRYINGTHESTENCIL 5. Now fl Letitsitthereforseveralminutessothat 4. Laythestencilfacedown(dirtyside) 3. FIGURE 10-25:STOREDSTENCILS . Saturateapowderpuffwithsolvent,and 6. to soak. then you’llneedtofl ip thestencilover stencil havedriedproductonthem, surface. Note:Ifbothsidesofyour the solventcanloosenallproductsonits onto thetoweling. lightly patthestenciltoremove product. toweling (dirtysideup). ip overthestencilontopaper PRO TIP If you have stubborn spots, use the spray bottle containing isopropyl alcohol. Mist those areas. Then take a synthetic brush and use a patting motion to loosen dry material.

7. Once you’re satisfi ed with the cleaning, FIGURE 10-26: BRADLEY LOOK AND STEVEN ANDERSON 173 rinse the stencil off with tap water in the AIRBRUSHING sink. 8. Lay the stencil down onto some clean paper toweling and pat dry. always advisable to do a makeup test. A makeup test is like a dry run. 9. Store the now-clean stencil away for the next time you’ll need it. Makeup testing is often done to determine the correct order to appliance application (if they are being used), choice of makeup colors, and to see how the makeup reads on camera. Makeup Artist Barry Koper and I PRO TIP met at Gower Studios to test colors for a An Itoya portfolio (available in art-supply and well-known soft-drink commercial. The offi ce-supply stores) helps keep stencils concept of the ad was that two large sumo fl at and organized. wrestlers were to be running through a dark forest and converge on an unsuspecting man who was sitting on a tree stump. The commercial spot would fi nish with a close- up of the two enormous bellies of the PREPARING FOR AN AIRBRUSH wrestlers squishing an unsuspecting man BODY MAKEUP between them. by Bradley Look Oh, and I left out the most important part. Each of the wrestlers would need to be BEFORE THE SHOOTING DAY airbrushed from head to foot: one yellow, Anytime a complex makeup is to be and the other lime green. We met with the tackled—whether it might be for a feature, actors that were to play the wrestlers at the television series, and/or commercial—it is studio. 174 AIRBRUSH Creation tattoocolorstoadjustthebases. setting, makeupcape,andadditionalReel the testincludedahairdryerwithcool pigment levelforthejob.Othersupplies line wasusedbecauseithadasuitable temporary-tattoo ink.ReelCreationproduct several versionsofgreenandyellow and compressorsweresetupalongwith Using avacantmakeuproom,airbrushes A MAKEUPTEST SET UPYOURSUPPLIESFOR matched toa body makeupthatwouldlast The colorswefoundtowork nowhadtobe produced. volume ofliquidproductcould be mixed in1-ouncebottlessothatalarger samples basedonthosetwocolorswere yellow andgreentheylikedthebest.Liquid producers fi nally agreedtotheshadeof correspond to.Afteracoupleofhours,the that theproducerswantedcolorsto perfect matchtothecanofsoftdrink green, andaDay-Glogreencreatedthe necessary. Forthegreen,amixtureofwhite, the skin,anunderbaseofwhitewouldbe the yellowtolookconcentratedenoughon the performers,itwasdeterminedthatfor After doinganumberofmakeuptestson MAKEUP TESTING SUGGESTIONS FOR streak andeasilycomeoff. could possiblycausethetattooinksto evenly. Moisturizerwasnotapplied—it skin oilssothatthemakeupwouldadhere with isopropylalcohol99percenttoremove The actors’skinwasthoroughlycleaned PREP THEACTORS complete bodymakeup.Ben Nyecream Reel CreationTattooInkswere usedforthe SUPPLIES MAKEUP ANDAIRBRUSH perspire. at themakeupwhentheystartedto their poresthefollowingday,andeataway night before.Thealcoholwouldseepoutof told nottodrinkanythingalcoholicthe the product.Andlastly,bothactorswere makeup willnotadheretoskincoatedin cover awiderareaunderthearms,and the sprayvariety.Spraydeodorantswill on antiperspirantdeodorant,asopposedto apply anybodymoisturizerandtouseroll- of shooting.Further,theyweretoldnotto all bodyhairthedaybeforeactual were givenspecifi c instructionstoremove Before leaving,thetwoactorsatstudio DAY OFTHESHOOT airbrush experience. Makeup Artistswerecalledinwhohad execute thebodymakeup,twoextra Because ofthetimeinvolvedto many triesforFredtomatchit.Note: more elusivecolortoobtain.Ittook and white).Thegreenwasamuch similar tocanaryyellow(amixof yellow waseasytomix,becauseit gallon ofgreenintemporary-tattooink.The quart ofwhite,twoquartsyellow,anda performers, weweregoingtoneeda Reel Creations.Toairbrushboth chose toworkwithFredBlau,ownerof tattoo inks,asmentionedearlier.We longer andcoverfaster,whichare makeup was used around the actors’ eyes in matching colors. Iwata/Medea HP-CH Hi- line airbrushes were used on the bodies PRO TIP becauses that gun can operate at a low 13 Before applying the yellow, it was strained PSI, which greatly reduced overspray. fi rst using a fi ne-mesh strainer like those Iwata’s Powder Jet Pro compressors were found in the baking aisle at a grocery used to power the guns. store. This helped remove any large par- ticles that could potentially clog the SETTING UP YOUR STATION spray gun. A tent was erected near the base camp. Portable heaters were brought in. Although the heaters were a good idea, they had to be placed a fair distance away 6. The yellow was applied carefully over 175 becauses we were spraying an alcohol-based the white. Note: Two people worked product, and safety was of utmost different sections of the body to save importance. time. 7. Next, we applied a matching yellow in APPLYING THE BODY MAKEUP cream form around the eyes. 1. To begin the process, everyone placed 8. The edges were blended off, then set fi lter masks on. with powder. 2. Our fi rst performer sat in a swivel chair 9. We applied a base to the entire face in as we lightly hazed the white underbase yellow with a Hi-Line airbrush. on. Note: It was extremely important 10. The makeup was fi nished with our that this fi rst layer not be sprayed on hands: airbrushed white primer color, too heavily—running would be visible yellow makeup, and colorless powder under the yellow and ruin the effect. to set. It was a slow process to build up this 11. To seal the makeup, Reel primer coat. Creations Blue Aqua Sealer was 3. We covered the entire actor except for airbrushed over the entire body. his hands, feet, and upper eyelids. A light coating of Derma Shield This took about an hour and a (a skin protector) was covered over the half with two people applying the entire body to add a more lifelike white. sheen. 4. We then lightly dusted the white tattoo 12. After the hair was styled, the airbrush product with colorless powder to was used to enhance the hair. This remove any stickiness on the skin. technique gave the hair a more 5. Then we dusted off the excess. structured look. 176 AIRBRUSH be usingfortouch-ups. equipment, chairs,orsmalltablethatyou’ll cover thatcanbeputup.Setupyour to seeifitispossiblehaveasmalltentor makeups. Talkwithsomeoneaheadoftime shooting outdoorsandformoreelaborate to beproperlysetupdotouch-upswhile There areafewsituationswhereyouneed ON-SET TOUCH-UPS other actorforthegreenbodymakeup. Lastly, asimilarprocesswasrepeatedonthe 4. Place one fi Ifusingacolorcup,coverthetopofit 3. Rinseandwipecolorcuporbottle 2. Pouranyleftovercolorbackintoits 1. Follow thesestepstocleanyourairbrush: PAASCHE CLEANING YOURAIRBRUSH: easily breaksdownthetattooinks. was usedonpowderpuffs.Thismixture isopropyl alcoholandmyristate To removethemakeup,a50/50mixtureof MAKEUP REMOVING THEAIRBRUSH bubble actioninsidetheairbrush and causes backpressure,which inducesa depressing thefi nger button.This airbrush, andreleasesome air by from blowingout. with yourthumboraclothtokeepair color cupattached. the airbrush,keepbottleassemblyor assembly clean.Tobackfl ush colorfrom container. nger overtheaircapof SAFETY facts andsafeguardyourself andtheactor’s professional areresponsible toknowallthe and low-PSIcompressors,you asa no provenriskofairbrushing withmakeup the topoflist.Although thereislittleor airbrushing. Havinggoodventilationisat Certain safetyissuesdocomeupwith FIGURE 10-27:ACLEANINGSTATION passage. container. Thishelpscleanthefl environment.” vent soasnottobeintroducedintothe system thathelpstotrapharmfulsol- station. Thecleaningstationhasafi lter pot, sometimesreferredtoasacleaning brush cleaningproductintoa Bradley Looksays:“Sprayexcessair- PRO TIP uid health. One of the fi rst defenses for Badger: www.badgerairbrush.com protecting yourself in the trailer is having Evans, Kris, and Albright, Darla. your station near one or two open doors at www.aircraftcosmetics.com either end. Windows should be open, and any built-in ventilation systems running. www.fda.gov There should be a limit on how many people in the trailer are airbrushing at a www.iwataairbrush.com time. Airbrushing has little or no risk, but Klasfeld, David. Obsessive Compulsive spray-on tanning is more of a concern. Cosmetics. www.occmakeup.com Good websites to research the latest fi ndings on cosmetic ingredients or workplace-safety Look, Bradley: Original articles written for issues are the FDA at www.fda.gov and Airbrushtalk web magazine OSHA at www.osha.gov. Mandor, Samantha. www.temptu.com 177 REFERENCES www.osha.gov Internet Resources Ousley, Dina. www.dinair.com www.airpromakeup.com Paasche: www.paascheairbrush.com www.arttalk.com

Effects 11

© MARY BIRCHLER DESIGNS 180 EFFECTS applying thefi nal pieceiswhatcounts. you knowtheprocessand who tocall,then to pourabodycastorsculpt masks.If prosthetic applications.Not everyoneneeds where toturnforhelpinachieving realistic As aMakeupArtist,youshouldalsolearn location. case, thereareeasywaystodothisrighton piece overandagain.Whateverthe effect, oryouneedtoreuseaprosthetic has beenmadeforalast-minutemakeup you needtorushsomethingout,arequest being used.Therewillbemanytimeswhen making becauseoftheadvancesinproducts are manywaystoshortenthepathofmold on inthischapter.Intoday’smarket,there to dothis,andwe’llgooverthestepslater mold tocure.Therearemanydifferentways and castingchosenmaterialstogointothe prosthetics startswithmolds,makingmolds high-end, qualitywork.Theprocessin Makeup Artistsaremuchsavvierandexpect or paintingaprostheticpiece.Directorsand help adepartmentheadinmaking,laying, trouble onoccasionifyoucan’tproduceor You mightfi nd yourselfbehindandin create anythingtheDirectorhasaskedfor. right toolsandproductswillhelpyouto painting thefi nal outcome.Findingthe the artofmoldmaking,applying,and imagination isallyouneed,plusskillsin created usingprostheticmakeup.Your Countless monstersandcreaturesare face, ortocreateawholedifferentface. simulate illnesses,tochangetheshapeofa makeup iswidelyusedtodayforwounds,to application, andpainting.Prosthetic effect inmakeupbysculpting,molding, Prosthetics istheprocessofcreatingan Silicone canhavenegativeresults when poured, brushed,orsprayed ontoamodel. tin catalyst.Youcanmakemolds thatare can becuredwithaplatinum catalystora hardness fromverysofttomedium. Silicone systems, andareavailableinrangesof Silicone rubbersaretwo-component Silicone Rubbers addressed thisproblem. products outtheretodaythathave a strongammoniaodor,butthereare to 20brushedlayers.Also,therecanbe brushed on.Someprojectscantakeup more hoursbetweeneachlayerwhenbeing Most latexproductsneedtodryforfouror disadvantage oflatexisthedryingtime. also goodforcastingwaxandgypsum.The and hasahighelasticity.Latexmoldsare out ofthecontainer.It’snottooexpensive, weigh theproduct.Youcanuselatexright of usinglatexisthatyoudon’thaveto into amold,butnotpoured.Theadvantage material. Latexisoftenbrushedorslushed make therubberusableasamolding is processedwithammoniaandwaterto trees, mainlyinSoutheastAsia.Rawrubber Latex: Anaturalrubberfoundin products areoften\usedbyMakeupArtists. products costeffective.Thefollowingrubber over andagain,whichmakesthese original piecebeingcast,andcanbeused fine details,areeasytoremovefromthe rubber products.Theseproductscanmimic mold making.Mostuseavarietyoffl Many productsonthemarketareusedfor by Smooth-On TODAY’S MARKET MOLD MAKINGFOR (Smooth-Sil Series): exible coming into contact with other products such as sulfur clays. Silicone also must be accurately mixed by using a scale. Gelatin: Can be poured into a silicone mold. The appliance picks up more detail from the mold if the silicone is slightly heated before pouring the hot gelatin.

SAFETY TIP by Smooth-On FIGURE 11-1: PRODUCT SUPPLIES

Materials are safe to use when following directions by the manufacturer. Federal 181 law requires that manufacturers provide important information in the form of a material safety data sheet (MSDS). The MSDS provides all pertinent information on a product—ranging from directions for proper use, to safety precautions, to a list of active ingredients, to associated hazards, to combustion levels, to storage requirements.

FIGURE 11-2: A MODEL BEING POURED WITH A CONTAINER WALL PROBLEMS THAT MIGHT ARISE WHEN MOLD MAKING If the mold has soft spots (partial cure): QUICK OVERVIEW 1. It was not mixed correctly (premixed). 1. An original model can be made with 2. It was not mixed thoroughly. almost any material. This includes clay, 3. The product was contaminated. wax, wood, plaster, stone, metal, bone, or cement. 4. It was not correctly measured. 2. If you are pouring, use a container wall If your mold stuck to the model: around your model (Figure 11.2). If 1. The wrong release agent was used; not brushing, no wall is needed. enough was applied; or it was not used 3. Seal all areas of the mold and model if at all. using porous materials: plaster, wood, 2. The model was not properly sealed. sulfur, or water-based clays. 182 EFFECTS . Useareleaseagentforallsealedareas.If 4. following reasons: properly, itcouldbeforone ofthe If youfi nd thatyourmolddidnotset making? Smooth-Onsuggeststhefollowing: What shouldyouhaveinyourkitformold simply washedoff. materials thathavespilled.Gelatincanbe with acetoneoralcoholtoremoveany keeping utensilsclean,andsurfaceswashed setup towels.Keepyourstationcleanby paper, brownoryourownfavorite Protect yoursurfacesfromspillswithwax been contactwithproducts. with soapandwater,oranywheretherehas contact whileworking.Washyourhands good rubbergloves,andminimizeskin fi rubber products,releaseagents,sealers, Have goodventilation.Donotinhalefumes, Followmanufacturerdirectionssuited 5. llers, resins,andplasters,soon.Wear Mold rubberormoldingmaterial of Release agent Sealing agent Stirring sticks Mixing containers Modeling clay Scale Wood oracrylicpiecesforcontainerwalls not necessary. you areusingsilicone,areleaseagentis for yourproject. choice homemade. spilling over).Moldboxescanbe (this isforcontaininganyproductfrom FIGURE 11-4:RELEASE FIGURE 11-3:SCULPT . Applysecondcoat(Figure11.7). 5. Applythinlayer(Figure11.6). 4. Mixproduct(Figure11.5). 3. Release(Figure11.4). 2. Sculpt(Figure11.3). 1. Smooth-On: Steps toSiliconeMoldMakingwith 3. Temperature too cold Wrongtypeofscale(shouldbeagram 2. 1. Wrong mixing measurements scale ortriplebeambalance) 6. Apply third coat (Figure 11.8). 7. Remove mold (Figure 11.9). 8. Scrape clay (Figure 11.10). 9. Measure out (Figure 11.11). 10. Mix fl esh tone (Figure 11.12). 11. Mix (Figures 11.13 A and B). 12. Mix quickly (Figure 11.14). 13. Spread in mold (Figure 11.15).

FIGURE 11-5: MIX PRODUCT 14. Release with powder (Figure 11.16). 15. Done (Figure 11.17).

183

FIGURE 11-6: THIN LAYER FIGURE 11-8: THIRD COAT

FIGURE 11-7: SECOND COAT FIGURE 11-9: REMOVE MOLD 184 EFFECTS FIGURE 11-12:MIXFLESHTONE FIGURE 11-11:MEASUREOUT FIGURE 11-10:SCRAPECLAY FIGURE 11-13:A,BMIX FIGURE 11-15:SPREADINMOLD FIGURE 11-14:MIXQUICKLY and available in soft, medium, or hard grades.

Casting: A product being used in a mold to create molded reusable appliances.

Cure: A chemical reaction that occurs when you mix two ingredients together that ﬁ nish.

Cure Inhibition: Certain casting products can be inhibited by contaminants used in or around a work area, causing the molded FIGURE 11-16: RELEASE WITH POWDER product to remain tacky or not to cure.

Demolding: When your product has cured enough to be taken out of the mold. 185

Green Marble SeLr: Makeup sealer, used in aging techniques and for multiple layers.

KRYOLAN Crystal Clear: Protective coating with clear ﬁ nish that doesn’t yellow.

Myristate: An additive for high-grade cosmetics. Also used as an emulsiﬁ er or moistening agent.

FIGURE 11-17: FINISHED DONE PIECE Mix Ratio: The proper mix of products.

Plastics: Products such as W.M.Creations, TERMS Inc. A.M.E.K. based liquid plastic. Not to be You should know the following terms used directly on the skin. Use in stone or as they pertain to mold making and silicone molds. appliances: Pot Life: How long the product mixed will Adding Color: Mixing pigments or ﬂ ocking last for usage. materials to a product before being cast into Pros-Aide: A prosthetic adhesive that can a mold. be mixed with acrylic paints. Has a strong bond. Alginates: Seaweed-based products used to take an impression of an object or person to Pros-Aide Bondo: Pros-Aide mixed with be used in mold making. Cabosil.

Chavant NSP Clay: Sculpting clay Platinum Cure Silicone Rubber: Abrasion that holds fi ne details, sculpture free and heat resistance in a versatile product for 186 EFFECTS prevent moisturefromattackinggelatin. a sealeronthebackofgelatinappliancesto used tosealwax,gelatinappliances,andas W.M. Creations,Inc.SoftSealer:Product before applyinganewlayer. of eachother,Eachlayermustbecured covered. Youcanslushseverallayersontop inside ofthemolduntilallareasare in amold,pouredandworkedaroundthe Slush Casting:Productsthataretobeused molds. Rigid GypsumMolds:Knownasstone mold. release theproductthatwascastfrom Release Agent:Anagentusedtohelp rubber molds. alloys, orresinscanbecastintosilicone- plastics, concrete,wax,low-meltmetal mold-making productions.Materialssuchas appliances? Mold-makingkit: to beablecreatesilicone moldsandtheir What shouldyouhaveinyourmakeupkit location.” molds canbemadequicklyandon made, itshouldlastindefi demold appliances.Onceasiliconemoldis “Silicone isafl exible material,andeasyto professional results.MatthewMungle: technique thatcanbedoneonlocationwith applying yourfi nished piece.Thisisa a simplesiliconemold,casting,and Matthew Munglewillexplainhowtomake SILICONE MOLDMAKING Small spatulas Silicone mold-makingmaterials nitely. Silicone nitely. . SculptthedesiredformoutofChavant 2. Setupyourstation,Makesurethereare 1. Steps to SiliconeMoldMaking: . Settheappliance inplaceontheskin 1. Prosthetic: Applying theFinished Bondo, andsiliconeproducts. the moldwouldbeplastic,Pros-Aide Suggested materialsthatcanbepouredinto toWhat Pour into theMold Sculpting tools Chavant NSPClay Medical mixingcups W.M. Creations,Inc.SoftSealer Pros-Aide Bondo Liquid soapsuchasIvoryclear Throwaway brushes dry atleast30minutes,thendemold. up atleast1inchtoavoidwarpage.Let bubbles inthecast.Buildmaterial brush, makingsurenottotrapany sculpture withafi nger orthrowaway Paint thesiliconematerialonto affected bylatexorsulfurproducts. are platinum-siliconebased,and Tite bySmooth-On).Thesetwoproducts (Third DegreemoldingmaterialorSkin minutes). Mixthesiliconematerial Clear, anddrythoroughly(aboutthree with onelightcoatofKrylonCrystal NSP clay(nonsulfurclay).Spraythe setup towels(preferablypapertowels). area. Washyourhandsandlaydown no latexglovesorspongesnearthework (Figure 11.18). area, holdingtweezersifnecessary FIGURE 11-18: STEP ONE FIGURE 11-20: STEP THREE

187

FIGURE 11-19: STEP TWO FIGURE 11-21: STEP FOUR

2. Applying a small amount of 99 percent alcohol under the appliance with a brush or cotton-tipped applicator, let the appliance blend (melt) into the skin (Figure 11.19). 3. Blend off any soft sealer edges with 99 percent alcohol (Figure 11.20). 4. Color with Stacolors, activated with 99 percent alcohol (Figure 11.21). 5. Paint with cut example (Figure 11.22). 6. Finished painted cut (Figure 11.23). FIGURE 11-22: STEP FIVE 7. Adding blood (Figure 11.24). 188 EFFECTS paint inthinlayerslikeawash (translucent) percent alcohol,giveyouthe fl over. Stacolors,whichareactivated with99 realistic qualitythatshouldn’t bepainted When anapplianceistranslucent, thereisa PAINTING PROSTHETICS Sealwithasoftsealerifnecessary. 10. Finishedscar(Figure11.26). 9. Cutandblood(Figure11.25). 8. FIGURE 11-24:STEPSEVEN FIGURE 11-23:STEPSIX exibility to exibility FIGURE 11-25:STEPEIGHT FIGURE 11-26:STEPNINE the eyes. 70 or90percentalcohol.Do notusenear Super Solv,orbabyoil.Clean skinfi Remove productswithIsopropyl Myristate, to thintheproductfi you canuseinanairbrushwithouthaving Stacolors alsocomeinliquidform,which sponges, orcotton-tippedapplicators. through). ApplyStacolorwithbrushes, or opaque(densesoitcannotbeseen rst. rst with rst PROSTHETIC TRANSFERS Body, hand, or face lotion by Christien Tinsley Smashbox Anti-Shine Some of the wonderful attributes these Tattoo palettes (fl esh tones and primary prosthetics offer are undetectable blended colors) edges, translucency (so they look like fl esh when a proper tone is mixed), and PREPPING THE SKIN incredible tenacity to hold during the long Depending on what approach you will take day of a shoot. for prosthetic transfer application, you will In order to set up for a prosthetic transfer commonly prep the skin by making sure it application, I fi rst like to prep my station. is free of hair, oils, and dirt. Hair can be Materials that I like to have with me at tricky if applying a prosthetic transfer all times when doing a Transfer because it won’t allow full contact of the application are: piece to the skin. Try to remove all 189 hair if possible. Prep the skin by Transfer prosthetic to be applied cleaning it with an astringent of your Transfer paper choice. This removes dirt and oil, and Astringent to clean the skin slightly dries the skin for better adhesion of Cotton pads paint or adhesive. Sometimes a layer of adhesive can be applied to the skin before Shavers (electric and razor) the prosthetic transfer, helping in the Shaving cream adhesion. Scissors Adhesive (Pros-Aide) PREPARATION: Latex sponges 1. If prosthetic is powdered, gently wash Tissue prosthetic transfer with antigrease soap Spray bottle (water) and water. Note: This step is not No-color powder necessary if prosthetic transfer is already clean. Powder puffs 2. Stipple a light coat of Pros-Aide over Q-tips surface of prosthetic transfer all the way 99 percent alcohol to the edges. Brushes 3. Let Pros-Aide dry until clear. Sealer (BenNye Final Seal) Steps 4–8 should be done only when ready Hand towels for application to actor:

Isopropyl Myristate 4. Place prosthetic facedown onto shiny Super Solv side of transfer paper. 190 EFFECTS 5. Press fi 4. Powder (Figure 11.30). Blend visibleedges(Figure11.29). 3. 2. Peel (Figure 11.28). Lay downwithwater(Figure11.27). 1. CHRISTIEN TINSLEY: APPLICATION STEPSWITH PROSTHETIC TRANSFER Placeprosthetictransferfacedownon 1. APPLICATION: . Wetbackofprosthetictransfer 2. . Powdergenerouslywithno-color 4. Continuewettingthepaperfor 3. . Nowyou’rereadyforapplication. 8. Peeloffplastictopsheetslowly.Ifparts 7. Trimasclosetotheedgeof 6. skin, andpressfi moistener (fi lled withwater). generously withaTinsleyTransfer (we recommendBenNyeFinalSeal). transfer withasprayofmakeupsealer excess powder,andsealprosthetic powder ofyourchoice.Gentlywipeany 99 percentalcohol. visible edgescanbeblendedawayusing gently withwater,andletdrywell.Any peel thebackingoff.Smoothtransfer approximately 30seconds,andsliceor important partofthepreparation. attention totheedges.Thisismost clean. repeat step4untilprostheticcomesoff the wholepiecebackonpaperand of prostheticpullawayfrompaper,lay prosthetic aspossible. rmly ontopaper,payingclose rmly. FIGURE 11-27:STEP1:LAYDOWNWITHWATER requires actorstowrestleor sweatorrun, arms onatablewhileeating, orthescene actor sleepshardoverlunch, orherubshis things canhappenwithprosthetics. An on-set, beaware.Aswithany makeup, In ordertomaintainprosthetictransfers ON-SET 6. Paint (Figure 11.32). 5. Seal (Figure 11.31). FIGURE 11-28:STEP2:PEEL FIGURE 11-29: STEP 3: BLEND VISIBLE EDGES FIGURE 11-31: STEP 5: SEAL 191

FIGURE 11-30: STEP 4: POWDER FIGURE 11-32: STEP 6: PAINT

etc. Always have backup transfers with using any kind of fi ller of your choice you, and alcohol, in case you have to (bondo, wax, etc.). Remember, it is always remove and apply a new one on-set. Do not best if you have time to remove and apply remove with oils in the middle of the day a new piece. Things happen—just be because your next one won’t stick. For resourceful and prepared. minor repair, have a premixed color or colors to match the tones and to fi ll in areas To Remove that have rubbed away. If an edge has Saturate prosthetic transfer with adhesive pulled up or rolled over, you can fi ll it in remover of your choice (Super Solv, 192 EFFECTS article. informational contentdiscussedwithinthis misuse, ofanymaterial,technique,or assumes noresponsibilityfortheuse,or rests solelywiththeuser.Theauthor use ofanymaterialinspecialmakeupeffects good faith.Theresponsibilityforthe context ofthisarticleispresentedin The informationcontainedwithinthe by KennyMyers PROSTHETICS APPLICATION OFGELATIN puff. gently withremoveranddampenedpowder Isopropyl Myristate,Detachol,etc.),andrub prosthetic applianceshasa much higher natural waythanlatex.Gelatin for that simulateshumanfl esh inamore moldable, fl exible, andtranslucentmaterial alternative tofoamlatexin that gelatinisa industries, gelatinappliancesarean In thefi lm andtelevisionmakeup chain. different aminoacidsjoinedtogetherina preservatives. Italsocontainsabout18 percent mineralsalts,freeofadditivesand protein, 8to15percentwater,and12 composed ofabout84to90percent of theanimaldowntoapowderthatis protein derivedbyrenderingtheremnants cosmetic manufacturing.Theendresultisa pharmaceutical, photographic,ballistics,and tissue ofanimals.Itisusedinfood, boiling theskin,bones,andconnective Gelatin isacolorlessproteinformedby WHAT ISGELATIN? gelatin maybealittledifferent, Orthe buy rawmaterialsatthesame place,sothe Many reasons.Forexample, youmaynot not workforyourfriendacross town.Why? formula youfi nd thatworksforyoumay determined, understandthatwhatever that usethematerial;however,ifyou’re Gelatin formulasareasuniquetheartists medium. you understandtheprocessesand place foranyMakeupArtisttostartuntil own colorantsto.Thiswouldbethebest provide aclearblockthatyoucanaddyour which youcanuse“asis.”Aswell,many blocks thatcomeinavarietyofcolors Many companiessellpre-madegelatin HOW TOMAKEGELATIN gelatin inhistime! He musthaveplayedwithanawfullotof Bloom scalewascreatedbyOscarT.Bloom. Bloom, thehigherpriceaswell.The dry gelatinintoaslurry.Thehigherthe gelatin asyoumixinliquids,turningthe swelling tomanytimesitsweightofdry way ofsayingitlikesandabsorbswater, be. Gelatinishydroscopic,whichafancy higher theBloomnumber,denseritwill well asitswater-bindingcapacity.The rigidity ofthatbrandorgradegelatin,as gelatin’s “Bloom,”istherelativestrengthor Bloom. Thoughitisusefultoknowthat shouldn’t havetoconcernyourselfwiththe a supplierforapplianceconstruction,you When youpurchasegelatinfrom (around 200–250). the gelatinusedforfoodconsumption Bloom, orstiffness,(around275–300)than sorbitol or glycerin may be formulated Gelatin, like a lot of makeup processes, differently and your method of processing came from many artists and many years of the gelatin into your mold may differ. Any contribution and sharing their knowledge or all of these things may throw a wrench with each other. Much of what is outlined into your “formula,” but you’ll learn this as here is from the contributions of Dick Smith you go. and Kevin Haney, who did a great deal of experimentation early on, with many A general place to begin would be to have successes and failures that many people on hand some gelatin, sorbitol (which today take for granted. It’s not an exact increases the tear resistance while being less science, and as an artist you can be affected by humidity; usually sold as a 70 surprised by all kinds of problems, usually percent solution), and glycerin (which at the wrong time. There is no shortcut to replaces much of the water that would be experimentation and experience. Keep a used in food formulas), along with a good record of each formula, and network as 193 scale to measure out your ingredients. These much as possible. three ingredients are used in most basic formulas, and can be obtained from internet Here is a starter formula: to 20 grams of special-effects supply houses or any of the gelatin, add 40 grams of sorbitol (70 brick-and-mortar special-effects supply percent solution) and 40 grams of glycerin. houses across the nation. As a side note, Other ingredients to consider by testing sorbitol is sold in two forms: a powder and their effect on the fi nished appliance: water, a liquid. The liquid is the sorbitol already in zinc oxide, face powders, fl ocking, solution, and it’s the form I like better for pigments, its ease of use. The liquid is usually sold as CAUTION: Pigments should be FDA a 70 percent solution. approved for use in cosmetics. Pigments Reiterating and many words of caution: from an art-supply house may not be ingredients are not necessarily suitable for cosmetic use—so don’t use the same from vendor to vendor. The them! Safety is your responsibility. supply of gelatin, the mix of sorbitol, the glycerin—can all vary. I can’t urge you Heating the Gelatin enough to make a chart of your ingredients Melting the gelatin into a liquid is necessary and procedures, and to write down to both homogenize the mixture and break everything—including proportions of down the powdered gelatin so that it can be ingredients, time of day, time of year, poured and molded. Usually this is done weather conditions, type and wattage of in a microwave for both convenience and microwave. All these things can have an speed. CAUTION: hot melted gelatin is effect on the end result. The object of all dangerous, and can blister and severely this work is to create a batch size that burn your skin. So be extremely cautious, works for the appliance you’re making— and protect yourself with both gloves and let’s say, a prosthetic nose. goggles. 194 EFFECTS freezer) tospeeduptheprocess. will putthemoldinarefrigerator(not appliance tocoolinthemold.Mostartists So don’tburnit.Allowyourgelatin gelatin willbreakdown,makingituseless. allow gelatintoboilwitheithermethod,the your containerofmeltedgelatin.Ifyou gripping tool(pliers)toplaceandremove Instead, useglovesforhotwork,oralong Do notusebarehands—itwillburnyou. place itintothewateroflowerboiler. gelatin intoametalbowlorcontainer,and take abitmoretime.Remembertoputyour A doubleboilercanalsobeused,butwill this informationdown. back oftheappliancesomewhere,andwrite Read theratings,usuallywrittenon is notthesameas#4onanothermachine. setting of#4for15secondsononemachine Microwaves comeindifferentwattages,soa the negative side down, placing your positive the negativesidedown,placing yourpositive require. It’salsobesttofi ll yourmoldswith before itcanfl ow intoalltheareasyou warm. Acoldmoldwillsolidify yourgelatin Keep inmindthatyourmolds shouldbekept pocketbook, andskilllevel. just havetofi nd whatfi ts yoursituation, disadvantages, aswithanymaterial—you to choosefrom.Allhaveadvantagesand used, sothereareavarietyoftechniques and skilltomake.Siliconemoldsarealso it ismoreexpensive,andneedstime release andwon’tbreakdownaseasily.But the advanceduser,Epoxicalgivesabetter many peoplearestillusingthemtoday.For begin becausetheyareeconomical,and UltraCal 30Moldsarethebestplaceto Molding Gelatin . Flipoverthewoundsobottomside 1. theAppliance: Prepping gelatin applications: What yourmakeupkitshouldcontainfor or acetonebeforeapplication. the fi nished piecesthoroughlywithalcohol or justaplastercopy.Remembertoclean have eitheravacuformcopyofthepositive to keepthemfromlosingtheirshape,so Gelatin appliancesshouldbekeptonaform and handlingthepieceforapplication. be agreathelpinmaneuveringthegelatin after removingitfromthemold.Thiswill cornstarch. Leaveanyfl ashing onthepiece the mold.Useno-colorpowder,talc,or powder thegelatinasyouremoveitfrom you wouldforafoamlatexappliance, Assuming thatyou’vefl ashed yourmoldas may usePAMcookingsprayorEpoxyParfi thin fi lm ofVaselineforamoldrelease.Others UltraCal molds,butsomedonot.Someusea Makeup Artistsuseasealingcoatontheir squashing yourmold’shalvestogether.Many prevent hydraulicbackpressurefrom your moldtoeliminatevoids,airtraps,or side intoit.Youwillprobablyhavetovent Skin Illustrator No-color powder Witch hazel Pros-Aide Green MarbleSealer Sponges Brushes Acetone is up. lm. 2. Clean the gelatin piece with acetone using a brush or sponge. 3. Let dry thoroughly. 4. Lay fl at on underside, then apply two to three layers of Green Marble, drying each layer.

Applying the Gelatin Piece:

1. Cleanse (using toner) the area of the FIGURE 11-34: STEP 2: LIFT APPLIANCE AND APPLY face or body that the gelatin piece is PROS-AIDE (ROBERT ILLUSTRATIONS) being applied to. 2. Fit the gelatin appliance to its intended position; in this case around the jawline 195 (Figure 11.33). 3. Lift areas of the appliance, and apply Pros-Aide with a sponge (Figure 11.34). Allow to dry most of the way clear. Press into place. It’s best to start from the inside pressing outward. If you fold an edge, use a little alcohol on a brush, and lift the edge to replace it correctly. 4. Have chin slightly down, and attach one side at a time (Figure 11.35). 5. Take ﬂ ash off with witch hazel (Figure FIGURE 11-35: STEP 3: CHIN SLIGHTLY DOWN AND ATTACHING SIDE (ROBERT ILLUSTRATIONS) 11.36).

FIGURE 11-33: STEP 1: GELATIN APPLIANCE UNDER FIGURE 11-36: STEP 4: TAKING FLASH OFF WITH WITCH JAW LINE (ROBERT ILLUSTRATIONS) HAZEL (ROBERT ILLUSTRATIONS) 196 EFFECTS 0 Useno-colorpowderaroundedges. 10. Letdrycompletely. 9. ApplyPros-Aidealloverthewhole 8. Blendtheedgeswithstipplesponge 7. Gentlyblendedgeswithwitchhazel— 6. APPLIANCE (ROBERTILLUSTRATIONS) FIGURE 11-38:STEP6:PICTUREOF FINISHED AIDE (ROBERTILLUSTRATIONS) FIGURE 11-37:STEP5:BLENDTHEEDGESWITHPROS- piece. and Pros-Aide(Figure11.37). hole inyourapplianceedge. it’s easytooverdothisstepanddiga wishing tomoveintotheprofessional This bringsupanissuefor those ofyou any eventgathering. pastime whensittingaround amallorat in individualcolorations.Thisisagreat character traitsand,mostofall,variations watchers—not onlyforbehaviors,butalso job! MostMakeupArtistsarepeople everywhere. Thiswillhelp“sell”yourpaint of colordensityandplacement closely studymostskin,you’llseevariations like arandompattern.However,ifyou placed ontheapplianceinwhatmayseem brush, usuallyarounda#8,andthecoloris technique usesaroundnatural-bristle orange orredstipplesponges.This hand-painted scumble,insteadofusing Another favoritetechniqueofmineisa the sponge. color, butinstead,softwashesofcoloron careful nottousetooopaqueamixof will resultinanaturalsoftskinpattern.Be appliance. Overstipplingwiththissponge sponge givesanexcellentpatternonthe pattern ontheapplicationsideof sponge andtearingholesinarandom Taking astandardwedgeofwhitemakeup passes usingSkinIllustrator(myfavorite). only aseriesofcolorstipplesandwash mass ofgelatin),thepieceshouldrequire (the balanceonintrinsiccoloringtothe coloring) andpaidattentiontotranslucency made yourappliance(includingtheintrinsic done yourhomeworkandhaveproperly applied, you’rereadytopaint.Ifyou’ve Now thatyourapplianceispreppedand by KennyMyers PAINTING GELATIN end of the industry. I say this only the industry. Gil explains how to approach because, if you are planning a career in the working with foam latex, and how to make makeup industry, have a “for sure” before a gypsum mold. you have a “maybe.” I’ve seen many Makeup Artists ignore a tried-and-true method to keep themselves in the technological MAKING A GYPSUM MOLD AND limelight—only to fail miserably in the 11th FOAM LATEX hour, when it was too late to correct the by Gil Mosko situation, and get themselves a reputation To make a gypsum mold, the mold maker for irresponsibility. This warning cuts across needs to take a life cast of the actor and all material usage or processes, no matter reproduce his or her face in gypsum (the what they are. This is an issue of positive mold). The most popular type of responsibility for your contract with your gypsum is Ultracal 30 from United States employer. 197 Gypsum, which is bought in 100-pound bags, or in smaller amounts from makeup- supply houses (such as Motion Picture By permission: Kevin Haney, published in Effects Company, in Burbank, California). Dick Smith’s Advanced Professional Make- The mold maker would now need to Up Course, Update #3, page 4. complete a sculpture on the positive. There are many types of clay to sculpt with. Kevin also notes that sorbitol makes gela- Plastilina is the generic name for oil-based tin fi rmer and less elastic. At the time of clay that never dries out. Common types are The Believers, Kevin used a formula that Roma Plastilina, and Chavant Clay. included 7 grams of gelatin (275 to 300 1 Bloom), 38 grams glycerin, 2 /2 grams Once the sculpture is completed, it is water, fl ocking, face powder, and zinc important to use more plastilina around the oxide. outside of the sculpture to provide “relief” from the negative. In other words, by using Internet Resources: this “fl ashing clay,” a thin strip of contact www.gelatin-gmia.com/index.htm between positive and negative is created. www.gelatin.co.za/ Having a thin strip of contact creates less surface area of contact, and therefore needs less pressure to squeeze foam out of this contact area. The fi nished foam piece will FOAM now have a very thin edge, which is most Gil Mosko created GM Foam in 1987 to desirable for the Makeup Artist who is meet the needs of the Makeup Artist for applying the appliance to hide in the fi nal a more user-friendly foam latex. Mr. Mosko makeup application. The fi nished sculpture, has numerous awards, and has developed complete with its fl ashing and setter points foam latex that has become the standard in of contact (to prevent rocking), is now 198 EFFECTS coat, hemporburlapcoats,andafi coat ofwetgypsum;addasecondsplash which sitsonthemoldpositive;splasha clay fl oor and wallsaroundthesculpture, making stepsaresimplyput:makeawet pieces fi t together intimately.Themold- in thereverse,ornegative.Thesetwomold information fromtheoriginalsculpture,but a one-piecenegative,containingallthe free fromundercuts.Tomatchit,thereis piece squashmold.Ithasasimplepositive, The simplestformoffoammoldisthetwo- Parfi spray ofMR1500(sprayVaseline)or Many moldmakersalsouseaverylight each otherduringthemoldingprocess. the positiveandnegativefromstickingto Spray. Thiscreatesabarrierthatprevents sprayed withKrylonCrystalClearAcrylic hemp hasmany morefi bers perinchthan using hempfi ber. Thesimplereasonis that as amold-strengtheningfi ber, weprefer Gypsum. Althoughmanypeople useburlap molds isUltracal30,fromUnited States The mostpopularformofgypsum forthese mold. rubbing againstthebottomofnegative having tofi ddle withmoldstrapsthatare user cansaveprecioussecondsbynot foam injectorandmanymoldstofi especially helpfulinlightofhavingafull of themoldsittingonstrap.Thisis the moldstrapwithouthavingresistance rocking. Thiswillenabletheusertoadjust manner onthetable,withoutrollingor means thatthemoldwillsitinastable mold.” Havinglittlefeetonthenegative Our labhasasteadfastrule:“Feetonevery coat; includingthreefeet. lm spray. lm ll. The ll. nishing does nothave circulatingair.Webakeout works muchbetter thanaplainoventhat wet moldsatthispoint.Aconvection oven sealing process.Itisalways wisetobakeout the alcoholhasevaporated, repeatthis place themoldinfrontofa fantodry.After over theinterior.Mopupanypools,and “Alco wax”intobothsidesofthemold,all cheesecloth orwindowscreen.Paintthis Mix well,thenstrainoutthelumpsthrough is about4to5partsalcohol1partwax. with 99percentisopropylalcohol.Theratio solution ofJohnson’sPasteWax,thinned attempting torunfoaminthem.Useathin New dampmoldsshouldbesealedbefore be preppedforfoamuse. residue andoil.Yourmoldisnowreadyto will washoutanyremainingplastilina isopropyl alcoholwithachipbrush.This time toscrubtheinteriorwith99percent mold. Whenthemoldisfairlyclean,it tools, whichwillscratchtheinteriorofa scrape awaytheplastilina.Neverusemetal carefully removed.Usewoodentoolsto and negative),alloftheplastilinamustbe After openingthetwomoldhalves(positive and brokenbythehard,coldplastilina. negative, whichwouldotherwisebechipped a moldwillactuallysavetheinteriorof In extremecases,preheatingbeforeopening rock-hard, coldplastilina. separated withfarlessresistancefromthe this way,thepositiveandnegativecanbe so theplastilinainsidewillbesoftened.In the moldtoabout120degreesFahrenheit, before openingit.GMFoamlikestoheat time toallowthemoldsitovernight fi the strengthofmold.Oncemoldis burlap, andthenumberoffi bers addsto nished, itisalwaysbestifyouhavethe molds at 140º Fahrenheit, but many of our 4. Clay walls (Figure 11.42). friends use temperatures as high as 180ºF. 5. First splash coat (Figure 11.43). The moisture will stay in the mold for much 6. Second splash coat (Figure 11.44). longer than you think. It often takes a minimum of six hours to truly bake a mold. 7. Hemp coat (Figure 11.45).

After baking the empty mold, a third 8. Finished coat (Figure 11.46). painting of Alco wax is done. When that is 9. Two pieces (Figure 11.47) dry, the interior mold surface can be brushed out with a chip brush, or polished FOAM MOLDS with a towel. This will make the surface All of GM Foam’s latex kits come with shine. Use GM Foam Mold Release around excellent instruction sheets. For this all of the edges, where the mold pieces contact each other. Just paint a very thin 199 layer of the white GM Release all around the perimeter of the piece, and let dry to white ﬁ lm. Your mold is now ready to be used with foam.

STEPS TO MOLD MAKING: 1. Little feet (Figure 11.39). 2. Little feet (Figure 11.40). 3. Sculpture (Figure 11.41).

FIGURE 11-40: 2ND LITTLE FEET

FIGURE 11-39: 1ST LITTLE FEET FIGURE 11-41: SCULPTURE 200 EFFECTS FIGURE 11-44:SECONDSPLASHCOAT FIGURE 11-43:SPLASHCOAT FIGURE 11-42:CLAYWALLS FIGURE 11-45:HEMPCOAT FIGURE 11-47:TWOPIECES FIGURE 11-46:FINISHEDCOAT illustration, let it suffi ce to say that liquid latex and other ingredients are weighed into the mixer bowl. The mixer is turned on low PRO TIP for a minute to mix all the ingredients, and DO NOT USE YOUR HOUSEHOLD COOK- then turned to a high speed to whip the ING OVEN FOR FOAM USE! foam to a desired volume, usually four to Please keep in mind that during the curing fi ve times the original volume. When the process, toxic vapors are given off, which foam reaches this height, the mixer is will poison your oven for food use. turned down to a lower speed to pop large bubbles and “refi ne” the foam. All the while, ammonia is escaping from the mixer bowl. As a function of this ammonia loss, the It is recommended that you wash the foam will have a steady drop in pH. When a completed foam pieces in warm water and certain point is reached (usually pH 10.4), a few drops of baby shampoo, or a few 201 the user carefully pours in a preweighed spoonfuls of Simple Green. Then the pieces amount of gelling agent. This begins an are gently rinsed, pressed between two acid-producing reaction in the foam, which towels, and placed on a form that keeps the will eventually coagulate into a solid mass, natural curve of the piece intact. Never or “gel.” Before the foam actually gels, the wring a piece of foam. If the foam is not user will have ample time to fi ll the foam allowed to dry in its own natural shape, it molds and close them. It is important to gel will “take a set” from any wrinkles or folds. the foam before putting it into an oven to These set-in fl aws will almost always be cure, because ungelled foam will collapse if permanent, ruining the piece, so please be it feels the heat of the oven. Cells will start careful to always store foam pieces in their popping, and the resulting foam will look natural curvature. like Swiss cheese. For long-term storage, foam pieces should be powdered, then sealed into plastic bags Curing the foam will cause the rubber or airtight food containers. If kept in airtight molecules to cross-link, or “vulcanize.” This containers, away from light, foam pieces can transforms the raw foam into a springy be successfully stored for years. sponge. Most small appliance molds will need three to three-and-a-half hours in the oven at 185º Fahrenheit. A WORD ABOUT THE STATE OF Then the molds are cooled slowly to a LATEX IN THE WORLD comfortable temperature for handling. All foam latex systems are a combination of When removed from the oven, the two natural latex (concentrated sap of rubber mold halves are pried apart, and the trees), a soap to make the foam whip up resulting foam piece is removed, taking to desired volume (foaming agent), a great care not to tear it during removal from vulcanizer (curing agent), and a coagulant the mold. (gelling agent). Some of the ingredients are 202 EFFECTS creamed latex.Throughdiffi At GMFoam,westillbelieveinnatural using thisevaporatedcentrifugedlatex. knowledge, allthemajorfoamcompaniesare which isperfectformakingfoam.Tomy this centrifugedlatexabout67to68percent, now thenewproductbeingproducedmakes too lowforourtypeoffoammaking.But has asolidscontentof60percent,whichis centrifuged latex.Normally,latex product. Thisnewproductisconcentrated companies havebegunmakingareplacement production ofnaturalcreamedlatex.Several rubber plantationchosetodiscontinuethe manufacturer wentoutofbusiness,the manufacturer. Whenthethread Their largestcustomerwasanelastic-thread that manufacturednaturalcreamedlatex. there wasonemajorplantationinIndonesia to notethefollowing:Upuntillastyear, precautions shouldbeused.Itisimportant treated withrespect,andbasicsafety Therefore, theentiresystemshouldbe and thegellingagentarepoisonous. and othersaretoxic.Boththecuringagent extremely safe,suchasthefoamingagent, time thelatex wasathickpaste,itlostsome into thelatexbeforeitissold, butinthe process. Ofcourse,ammonia isaddedback that oxidationisoccurring during this preservative haslonggone, and webelieve turns toathickglop.Allof theammonia for hours.Thelatexinthehugedrums centrifuged rubberhasbeenexposedtoheat centrifuged latex.Rememberthatthe of latextobesuperiortheevaporated believe thephysicalpropertiesofthistype original typeofcreamedlatexforus.We part oftheworldtostartmanufacturing we havecontractedaplantationinanother cult dealings, cult reach ofchildrenandpets. use. Keeptheseandallchemicalsoutof given offbycuringfoamaretoxicforfood household ovenforcuringfoam.Fumes GM FOAMWARNING:Neverusea Anyoneworkingwithfoamlatexshould 6. Washyourhandsafterworkingwith 5. Donotletfoamcomponentscomeinto 4. Wearsafetygogglesandgloveswhen 3. Haveadequateventilationtoremove 2. Readtheinstructionsbeforestarting. 1. SAFETY: wax beforeapplying GMFoamMold New, dampmoldsshouldbe sealedwith OTHER STONEMOLDS PREPPING ULTRACAL 30 AND back, andwehaveit! 1980s, whenwestarted.Creamedlatexis is performingthewayitdidbackin on gelledfoam,weknowthatourrubber to breakdown,andasmooth,shinysurface see cellstructurethatisstrongandresistant we haveseeninthepast20years.When new creamedlatexisasgoodanything oxidation oftheevaporatingprocess.Our of itsphysicalcharacteristics,dueto nearby incaseofemergency. keep asetofmaterialsafetydatasheets without washingfi foam. Nevereat,drink,orsmoke Clean upspills. with soapandwaterassoonpossible. contact withskin.Ifthishappens,wash working withfoam. ammonia fumes. (MSDS) formoreinformation. Refer tothematerialsafetydatasheet rst. release. An effective wax sealer can be made Demolding using Johnson’s Paste Wax (or any carnauba Specifi c instruction and product knowledge wax) that has been thinned with 99 percent can be acquired by contacting GM Foam, isopropyl alcohol. We use a ration of 4 parts Inc., directly: (818) 908-1087. alcohol to 1 part wax. HOW TO PAINT FOAM APPLIANCES Liquid latex and other ingredients are by Gil Mosko weighed and placed in a mixer bowl. The foam is now whipped at high speed, The gluing of a foam appliance is more or until it rises like whipped cream. When the less a mechanical process. There are many desired height is reached, the mixer speed is different adhesives, but an appliance is built turned down, and the foam is refi ned to to sit on the face or body in one specifi c make the bubbles or cells smaller. This also way, and is never stretched. Let us assume allows the ammonia content of the foam to that your appliance is glued to the face, and 203 decrease. At just the right time, gelling agent it is time to paint. The goal of course, is to is added to the slow-turning mixer. After make the paint job not only look like the about two minutes of slow blending, the surrounding skin, but to also make an mixer is turned off, and the foam is poured opaque medium appear translucent. This is into the negative mold. The positive is achieved by building up layers of thin wash carefully placed on top of the negative. of color, so you can see through the layers Now pressure is applied to squeeze the two and see depth. mold pieces together. With small molds, We all learn by watching other artists. In simply pressing with the hands will suffi ce. my case, the truth is that the very gifted Larger molds require mold straps to create a artist Greg Cannom had me visit his lab, good pressing action. Often the negative along with my model, and literally showed requires a wooden board to be placed on it me how he painted a bald cap. This was and then be strapped. This increases the during the period in the ’80s when I was leverage of the strap, and gives a greater studying for my union exam. I applied a squeezing action. bald cap to my model, and Greg painted it. That simple act of generosity has, since that day, changed the way I look at painting. FILLING MOLDS Everyone has their own style. Todd Curing McIntosh begins with a base coat of reddish Once the foam has gelled, in a few color, and paints everything over the red. minutes the mold can be placed into the This lets the painting have the feel that oven for curing. During this process, there is blood under the skin, and you can vulcanization occurs. The latex molecules barely see it, once again creating depth. I chemically cross-link, and give the foam like to use a base coat of paint that closely piece a memory. Once demolded, the foam resembles the actor’s or actress’ skin. I use will spring back into shape after being full-strength Pax Paint (a term coined by pressed. our dean of makeup, Dick Smith). I might 204 EFFECTS line ofPaxPaintsintwopalettes:Darkfl add thatGMFoam,Inc.,hasacomplete . OnceallthePaxcolorsaredry,Iliketo 7. Finally,alastcoatoftheoriginalbaseas 6. ThenIusegreensandblues. 5. Next,useacolorthatistwoshades 4. Afterthered,useashadeoneortwo 3. Afterthebasecolor,Ipaintathincoatof 2. Afterthefull-strengthbasecoat,Inever 1. PAINTING STEPS: be usedtocreateamottledsurface. The spongeisnowastampofsorts,andcan until littleholeshavebeenpickedaway. edge isthenpickedatwithyourfi pull untilitbreaksintotwopieces.This makeup sponge,holditinbothhands,and artists call“scumblesponges.”Takeawhite sponge. Fromthispointon,Iusewhat onto theskin,usingawhitemakeup feather averythinlayerofthebasecoat colors. Oncethepieceispainted,Igently also hasaredappropriatetotheother tones, andLightfl esh tones.Eachpalette into theRCMAcolorscheme, withsuch Incidentally, myPaxcolors are keyed Foundation thatmatchesmy basecolor. use athinlayerofRCMAAppliance a washovereverything. darker thanthebase. shades lighterthanthebase. itself. Idryeachcoatafteritisapplied. of thespongecannotbeseenrepeating constantly turningitasIdab,sothepattern red bydabbingthescumblesponge, washes ofcolor. them withwateruntiltheyaremere again usefull-strengthPaxPaints.Ithin ngernails, esh notice. the DirectorandCinematographerwill from thesurroundingskin.Andbelieveme, artistically thatonecannotdistinguishit appliance paintedsoaccuratelyand think ofnogreaterthrillthantohavean becomes skin.ForaMakeupArtist,Ican ceases tobelayersofpaint,andsuddenly point, ifyouarelucky,whenthepaintjob I cantellyouinallcandorthatthereisa Finally,ifyouhavethetime,can 9. Ifthereismoreshinethanyoudesire, 8. greasepaints, oraquacolors. paint frecklesandblemishes,eitherwith little whitespots. use astippletechnique,oritwilldryin product inasweepingmotion.Donot you canuseOrigins,ZeroOil.Usethis the useofpowderunnecessary. actually biteintothePaxPaint,making of yourhardwork,andalsoitwill a thinenoughlayer,itwillnothideall same shadeasyourbasecoat.Ifyouuse little RCMAoverthePaxPaints,in of yourPaxlayers,youjustsmudgea so whenyouarereadytoharmonizeall colors asOlive1,Shinto2,andsoon, earn therespectofyourpeers. do amakeupthatissofl awless thatyou learning thesetechniques,andsomeday readers isthatyouhaveagoodtime requires practice.WhatIwishforthe As withanythingelse,thistechnique PRO TIP —Gil Mosko BLOOD The blood products that the Makeup Artist There will be many times in your career chooses should be color checked with the when you will need to create blood effects. Prop Department and Special Effects so that What you use and when to use it will have the color of blood will be consistent. A a big impact on how successful the outcome sample of the blood product you have will be. When a scene requires the use of chosen should be given to the Costume artifi cial blood, there are many departments Department, to ensure that it is washable that are involved in creating a realistic and to check for stain factor. The Prop effect. In some cases, you will need to Department and the Art Department will camera test the color of your artifi cial blood. also need to know the products, particularly Some blood products will register too dark how to clean the blood products off props or too bright under certain lighting and and how to remove the blood from the set. fi lm-processing conditions. These situations If the props or the sets are expensive and are classic examples of working with other cannot be damaged or stained, this will be 205 departments on a fi lm or television set. You discussed in the production meeting, and will need to coordinate with the Costume will affect your product choice. In some Department, the Prop Department, the situations, the Makeup Department will Special Effects Department, and, in some provide the blood products for other situations, the Stunt Coordinator. departments (such as the Costume Discussions about the blood effects start Department), or will give the other during the prep with the Director. Then, at departments involved the name of the the production meeting, the First Assistant blood product and where to purchase it. If Director will address any issues, with all the Makeup Department does purchase departments present and having input. products for other departments, just note on the invoice or receipt showing After the production meeting, there are which department it is going to, so sidebar meetings with the various that the Accounting Department is able to departments, at an agreed-upon time, to allocate the cost to that department. further discuss the issues. Doing so will keep the makeup budget intact.

PRO TIP If you do not coordinate with others, there will be no continuity in the color or texture Sidebar meetings provide excellent oppor- of the blood, as well as leading to confusion tunities for fi ne-tuning conversations and among departments on the set. These are designs with other departments involved, moments in production and on-set when and not subjecting departments that are everyone works together to help each other not involved to a long discussion. out to achieve the desired effect. Before we talk about choosing the right blood products to use, it is a good idea to 206 EFFECTS White bloodcellsaretheretofi constantly recirculatedthroughoutthebody. protein thatisredincolor.Blood throughout thebody.Hemoglobinisa also keepbloodcleananddeliveroxygen potassium, andantibodies.Redbloodcells also functionsasacarrierofminerals, vehicle forbloodcellsandplatelets.Plasma contains 90percentwater.Plasmaisa 55 percentplasma.Plasmaisaliquidand lungs. Bloodcontainscellsandisabout carbon dioxidefrombodytissuetothe lungs tobodytissue,andthentransports blood. Bloodtransportsoxygenfromthe The humanbodyhasaboutfi ve litersof IsBlood?What human body. understand howbloodfunctionsinthe Isthereawritten descriptionofwhatit • cause ofdeath. gunshot, bloodynose,illness ordeath,and accident, fi ght, murder,crimescene, with adescriptionofwhattheactionis.Car The scenedescriptionwillgetyoustarted should look.Startwithhowthescriptreads. what productstouseandhowtheblood questions beforemakinganychoiceson You willneedtoknowtheanswersafew How to Choose are dangerousforminsidebloodvessels. are clotsformedinsidethebody.Clotsthat on theoutsideofbody,whereasbruises in blood.Forexamplescabsareclotsfound blood fl ow aroundwounds.Clotscanform found inblood.Plateletshelptoblock infections orgerms.Bloodplateletsarealso looks like? ght off ght wants. YourDirectorwillhave avisualidea with theDirectortodiscuss whatheorshe script anddoingpreliminary research,meet achieve thedesiredeffect.After readingthe to bringideasthediscussion ofhowto meeting withtheDirector,youwillbeable If youcananswerthesequestionsbefore die fromcertaindiseasesorwounds. and death,includinghowlongittakesto wounds, butalsoforallillnesses,diseases, Not onlyaredoctorsgreatresourcesfor offi well asadesignatedareawithinthedoctor’s obtain specialpermissiontoaccessthem,as privacy reasons,thereforeyouwillneedto Medical slidesandphotosareprotectedfor slides, youwillhavetogotheoffi phone orattheoffi ce. Ifyouneedmedical schedule anappointment,eitheroverthe help. Mostofthetime,youwillhaveto is limited,buttheyarenormallyhappyto when consultingwithadoctor.Theirtime to thebody.Beorganizedinyourquestions helpful inresearchingwoundsandtrauma emergency-room doctorisalwaysvery consult withamedicaldoctor.An resource books.Ifthewoundsareextensive, knowledge ofthebody,andmedical action. Thisisoneexampleofusingyour about howtoachievewoundsmatchthe After readingthescript,researchandthink Whathappenstothetextureofskin? • Whatdoesthetraumalooklikeinreal • Whatisthemedicalimplication? • Whereisthebloodcomingfrom,and • life? why? ce whereyoucanviewtheminprivacy. ce. of what the scene or action should look like. Broken or Fractured Nose: When the The Director might also want you to show nose has been broken, there will be research on the type of wounds that are swelling and bruising. There is also a good required to match the action. In most cases, chance of the nose becoming deformed. You the Producers will want to be involved in can also experience eye hemorrhaging and discussions. Producers will also have a say bruising around both eyes, as well as in how much blood is used. This is for nosebleeds. reasons related to fi lm and television rating Broken Jaw: This is a serious wound for issues, as well as creative choice. There will several reasons. The swelling of the be jobs where you will have a meeting with tongue can affect the breathing. With facial the Director before reading the script. This swelling and bruising, there is a strong could be during the job interview. They will possibility of lacerations in the mouth. be looking for how you would achieve Blood from these lacerations can cause certain effects. Ask questions about the 207 dangerous choking. action and story line, and what they want— or do not want—it to look like. In some Compound Fractures: There is a big cases, the Director will not know what he or concern with compound fractures that a she wants, but they will know exactly what blood or nerve vessel could be injured. they do not want. Fractures of this nature leave the bone exposed due to skin lacerations.

MEDICAL DESCRIPTIONS Hemorrhaging in the Eye: Same as the Busted Eye: Bruising, swelling, an open cut bruise, but located in the eye. Blood vessels often seen if the person has been in a fi ght. that have broken in the eye area become A freshly bruised eye has just happened and trapped under the corona and give the eye a is black and blue in color. A days-old eye bright red stain effect. As the bruise starts to injury will be green and yellow in color. heal, the area will develop a yellow greenish This wound effect could be used for many tone. different situations. Burns: Abrasion Wound: Abrasions are surface First Degree: Burns that affect the outer skin lesions, such as scratches or small cuts, layer of the skin. First-degree burns are where the skin has been scraped. There is red with swelling and pain. usually no need for stitches to close the wound. Second Degree: Burns that affect both the outer and under layer of skin. These Animal Bites: Animal or people bites are burns cause pain, redness, and laceration wounds where the skin is torn. blistering. Stab Wounds: Stab wounds or penetrating Third Degree: Burns that affect deeper stab wounds are deep, and often fatal tissues, resulting in white, blackened, because of the harm done to vital organs. or charred skin that causes numbness. 208 EFFECTS dispersed outward. greatest amountofbloodandbodymatter wound islargerandmessier,withthe edges ofskinatthebulletentrance.Theexit wound issmallerindiameter,withburned cleaner thantheexitwound.Theentrance shooting distance.Theentrancewoundis depend onthecaliberofgunand Gunshot Wounds:Yourwoundsizewill conditions, hecreatedhisown.Ken: worked underthemanydifferentshooting blood. Findingnothingonthemarketthat Ken Diazknowstheimportanceofrealistic WHAT TOUSE Thermal Burns:Theseburnscanoccur Airway Burns:Theseburnscanoccur or startingtodry?Manytimes youwill How oldisthewound?Is blooddry is oxygendepletedanddark incolor. color. Withvascularbleeding, theblood blood isoxygenenrichedand brightin bleeding? Witharterialbleeding,the Does thewoundhavearterialorvascular what typeofwoundyouarecreating. makeup. First,youneedtodetermine take intoconsiderationwhencreatinga “There alwaysareseveralfactorsto white orcharredskin. peeling skin,redshock,swelling, with skin.Symptomsareblisters, fl when scaldingliquids,radiation,or Dark mucuscanoccur. neck. Eyebrowsandhaircanbesinged. burned lips,burnsonhead,face,or fumes. Symptomstowatchoutforare when inhalingsmoke,steam,ortoxic ames orhotitemscomeintocontact blood (suchasK.D.151Blood Jam)isused Heavy: Averyheavyorpasteconsistency or thicknesses. available thatcomeinavariety ofviscosities There arenowmanybloodproducts Blood Viscosity does bright-coloredblood. much morerealisticonwhiteporcelainthan colored surfaces.Dark-coloredbloodlooks opposite istruewhenworkingwithlight- applying thebloodtoanydarksurface.The Also usebright-coloredbloodwhen brighter-colored bloodforittobevisible. bloods willnotshowup.Youneedtousea When fi lming inlowlight,dark-colored Lighting Conditions what touse. The followingarebloodconditionsand Take photosofreal-lifeinjuries.” shows, boxing,andfull-contactmatches. and recordtrue-lifemedical-emergency research andstudymedicalbooks.Watch need tostartthinkingorganically.Doyour good atdressingbloodtowounds,you the bloodcouldwashaway?Togetreally the bloodisfreezing?Isitrainingoutso Is theactorsweating?itsocoldthat set conditionscanalsoaffectthewound. starting todry.Weatherelementsandon- or onsmudges,thebloodwouldbedry darker. Asyoumovetotheoutsideedges blood wouldbecomeoxygendepletedand away fromthecenterofwound, oxygen-enriched blood.Asyoumove center ofthewoundmayhavebright, blood inonemakeup.Forexample,the have acombinationofallthreetypes when a nonfl owing blood is needed. This tend to have an unrealistic skin that forms type of blood can be applied with a dental on the surface. Applying a little bit of spatula, and works very well when used at glycerin over the top of the blood keeps it the base of cuts. You can create very looking fresh and wet. To help avoid this realistic scratches with this type of paste- problem, you can use a blood that already consistency blood when applied with a contains a glycerin base (such as K.D. 151 coarse stipple sponge. Stay Wet Blood).

Less Heavy: A slightly lighter-viscosity blood (such as K.D. 151 Blood Jelly) should Mouth Blood be used when a slow-moving blood is Blood that runs into the mouth should be desired to help maintain the continuity of a specially formulated (such as K.D. 151 bleeding wound from take to take. Mouth Blood).

Medium: Medium-viscosity bloods are the 209 consistency of syrup. These are probably the most commonly used type of blood. Some PRO TIP of these bloods have been formulated for Always keep a small can of shaving cream speciﬁ c uses. in your kit on-set. Shaving cream removes stains on the skin ranging from blood to Light: Light-viscosity bloods (such as permanent markers. It is fast and easy. K.D. 151 Pumping Blood) can be used when matching the viscosity of real blood. Also are good to use when pumping blood through small-diameter tubing. There are products out there now that make all the difference in continuity and how a To create a thinner, realistic dry or drying blood effect can be used, without the mess blood, you need to use a medium-viscosity involved with cleanup. Skin Illustrator, drying blood (such as K.D. 151 Drying developed by award-winning Makeup Artist Blood Syrup). When a thick, realistically dry Kenny Myers, is a water- and abrasion- or drying blood is required, you need to use resistant, alcohol-activated makeup that is a heavy-viscosity drying blood (such as available in palettes and liquids. Makeup K.D. 151 Drying Blood Jelly). products such as Skin Illustrator are a When applying blood over prosthetic must-have in your makeup kit. Throughout appliances, you will need a blood that the book, we mention different Skin contains a wetting agent (such as K.D. 151 Illustrator palettes, and for now, we’ll talk Flowing Blood). Blood that contains a about the Skin Illustrator FX Palette and a wetting agent will help keep the blood from few ways it is used in blood effects (Figure beading up over slick surfaces. 11.48).

Working outside with conditions that could The FX Palette was designed for just about be hot, cold, or windy, theatrical bloods any injury or illness imaginable. The Skin 210 EFFECTS FIGURE 11-48:SKINILLUSTRATORFXPALETTE aged bloodthat isnottooblueorpurple. rust tone.Theagedbloodis amid-ground memory. Usetheburntorange toprovidea the colorwheelifyouneed torefreshyour palette. Remembercolormixing? Referto different greenthanwhatis alreadyinthe mix yellowandblue,youwillproducea Skin Illustratorsaremadetomix.Ifyou ultra blue. theatrical colorbloodwiththeadditionof that canbeeasilyalteredtoadeeper,more Blood toneisarealisticnaturalbloodcolor and illnesses(Figure11.49). palette tocreatevaryingdegreesofinjuries seamlessly integrateswiththefl scrapes; scabs;andbruises.TheFXPalette second-, andthird-degreeburns;cuts; Illustrator FXPalettecansimulatefi FIGURE 11-49:SKINILLUSTRATORFLESHTONEPALETTE esh-tone rst-, did cutthewardrobe toexposethewound. to thewound,andCostume Designer principal actressdidhavewet bloodapplied in theshotforalongstretch oftime.The actress. Thestuntwoman’sarm wouldbe stunt driverhadtomatchthe principal on thewardrobe.Forexample:afemale wound whenyoudon’twanttogetblood is alsoagoodwaytopaintbloodon the wetbloodorlittleofit.SkinIllustrator the woundlookingbloody,evenwithout blood lifts,SkinIllustratorcolorswillkeep blood needstogo.If,duringshooting,the you havesafeguardedexactlywherethewet Illustrator FXcolorbeforethewetblood, If youhavelaiddownbloodwithSkin can startfreshagain. few momentstocleanuptheactorsoyou the take.Betweeneachshot,therewillbea blood thefi rst timeoratthebeginningof keep trackofexactlywhereyouappliedthe shot overandagain,you’llwantto dripping blood,andyou’llneedtodothe For Continuity:Ifyouhaveanactorwith will getawholenewrangeofcolor. any oftheothercolorsinpalette,you By takingtheagedbloodandaddingitto at theendoftake. ity photoatthebeginningoftakeand the blood.Youwillneedtotakeacontinu- ing. Sometimesthereisaprogressionto and anychangesoftheblood,duringfilm- starts frominordertomatchtheblood, Know whatpartofthesceneeachtake PRO TIP Shooting the stuntwoman to match became from the Director can be helpful in scaling an issue when wet blood was to be applied. down the possibilities. Let’s not forget that The Costume Designer did not like the idea tattoos are symbols and representations of the mess that wet blood would make, sometimes of more than just expressive art. and the amount of wardrobe that would be Sometimes there are meanings with deep used. The solution was to use blood trails ties to them, and the last thing you want to made of Skin Illustrator colors, which, on do is have your actor with something that is camera, looked just like real blood. Add a offensive or says something about himself little shine on top of the Illustrator color that isn’t in the character’s description. with KY Jelly. This is a product that will Tattoo books, magazines, tattoo parlors, maintain its shine without lifting. photography books, and the internet are all good sources to fi nd thousands of ideas. Everyone was happy with the results of not having to use wet blood on the stunt driver. Today, in feature fi lms and TV, the 211 Saves you from having to run in over and techniques of HD, bluescreen, and over again to clean and reapply blood. With greenscreen are being more commonly used. this in mind, you can see why distance The trick to a good makeup, tattoo, or shots, working in the rain or elements prosthetic is to make it look real. If you can outside, painting your wound for a more fool the eye standing two feet away, you will three-dimensional look, and keeping most likely fool the camera. Don’t rely on continuity are all good reasons to use Skin video monitors—they can be misleading Illustrator FX Palettes in your work. and not a true image for corrections.

Make sure you have a good relationship with the Director of Photography. In HD PRO TIP cases, there are digital DPs (not Video Other products you can use to get the Assistants) monitoring the recording. Go to same effect as FX Skin Illustrator: Stacolor dailies. Ask to see them even if they give and Reel Color. you a DVD copy. Know what you are looking at. Find out from the Director or DP how they are processing the fi lm in post, so you can be aware if you need to punch TEMPORARY TATTOOS up certain colors. There are no disclaimers by Christien Tinsley, creator of in fi lm and television for a Makeup Artist. Tinsley Transfers, Inc. PREPPING THE SKIN When approaching a tattoo job, research is Depending on what approach you will take always important. You have to consider the for tattoo applications, you will commonly character and the character history and time prep the skin by making sure it is free of line to where and when they got the tattoo. hair, oils, and dirt. Hair can be tricky if Also, with so many themes and mixture of applying a tattoo decal because the hair themes, having a good direction or vision won’t allow full contact of image to the 212 EFFECTS any imageorinkbeingapplied. before thetattoo,helpingadhesionof layer ofadhesivecanbeappliedtotheskin adhesion ofpaintoradhesive.Sometimesa and oil,slightlydriestheskinforbetter astringent ofyourchoice.Thisremovesdirt issue, preptheskinbycleaningitwithan at allpossible.Afterhairisnolongeran can justbeintheway.Trytoremovehairif skin. Ifyouaredrawingthetattooon,hair FIGURE 11-50:LAYONSKINAND APPLY WATER fi If youareapplyingtattoodecals,then 5. Seal the fi 4. Powder (Figure 11.53). Letdry(Figure11.52). 3. Slowlyremovethepaper(Figure11.51). 2. Laythetattoodecalonskinand 1. APPLYING THETATTOO: rst want to cutcloseyourtattooimage, apply water(Figure11.50). nished piece (Figure11.54). entire surface.Applywatertothebackof onto theskinandpressfi rmly overthe images. Next,placethetattoofacedown that hasbeenpreappliedtothetattoo coating. Thiscoatingprotectstheadhesive and thenremovetheprotectiveplastic FIGURE 11-52:LETDRY FIGURE 11-51:SLOWLYREMOVINGTHEPAPER entire image. Make sure the water is completely dried, and then powder generously.

I always let the powder stay until last looks. After you are fi nished with the makeup, you can be sitting for hours before your fi rst shot, and I prefer to let the powder protect the image. What I have found is that after a while, the powder falls away and absorbs with natural oils in the skin. You may fi nd, by the time you get to shooting, that you require very little sealer. Never put oils such as glycerin on top of a wet or sweaty look. 213 FIGURE 11-53: POWDER Always use a silicone- or water-based product.

APPLYING SEALER When applying sealer, spray into a sponge and ﬁ rst wipe against your own hand. Then take the dampened sponge and lightly rub over the surface of the tattoo until all the powder is removed. You should in most cases not require antishine. If your image is too shiny, then a little antishine rubbed over the surface can help. Try to avoid powders.

APPLYING TATTOO PALETTE COLORS OR TATTOO INK COLORS Flesh-colored tattoo paints painted over the FIGURE 11-54: SEALING FINISHED PIECE surface lightly can help dull the surface and give your tattoo a more aged quality. If you need to add color or image to a transfer, the decal, and soak the paper. Allow this to then any sort of tattoo palette paint or tattoo sit for 30 seconds or so, and slowly remove makeup inks will work. I try to do this the paper. After the paper is removed, wet additional work after the tattoo has been your fi ngers or a sponge, and gently— applied and before powdering or sealing. without stroking the surface—press over the Ideally, you have done your research and 214 EFFECTS resourceful andprepared. we don’tseethat!”Thingshappen—justbe in theair,assessshot,andsay:“Hope away. Sometimesjustthrowyourhandsup and tofi ll in theareasthathaverubbed premixed colororcolorstomatchtheimage won’t stick.Ifitisaminorrepair,have middle ofthedaybecauseyournextone one on-set.Donotremovewithoilsinthe case youhavetoremoveandapplyanew backup tattooswithyou,andalcoholin wrestle orsweatrun,etc.Alwayshave while eating,thescenerequiresactorsto lunch, anactorrubshisarmsonatable can happen.Anactorsleepshardover even morelikeaprostheticmakeup—things aware. Likeanymakeupyoudo—but In ordertomaintaintattooson-set,be MAINTAINING TATTOOSON-SET require. should includealltheagingandcoloryou time, andthetransferyouhavemade parties (Director,Producer,andactor)in were luckyenoughtogetapprovalfromall shooting. help moisturizebeforethenext dayof towel, andthenapplylotion tothearea until theareaisclean.Finish offwithahot up therubbingcycle.Continue this use adampenedhothandtoweltobreak gently rubbingthearea,andperiodically to applyremoverwiththepowderpuff, the skin,anduseapowderpuff.Continue up inthemicrowavesoitiscomfortableon Myristate andSuperSolv50/50,warmit To removetattoos,ImixIsopropl REMOVING TATTOOS It iseasytoremoveandhas amediumhold. of theleastexpensiveresin-based adhesives. Resin-Based Adhesives:Spiritgumisone or thickened,butneedsacorrect remover. waterproof, andcanbethinnedwithwater texture, astronghold,driesclear,is Pros-Aide Adhesivehasamilkywhite used asaPax,andsealsworkalreadydone. prepare appliancesforpainting.Itisalso product canbeusedtoblendedgesand Aide drieswithoutatackysurface,sothe No TackPros-Aideformulas.Pros- many otheruses.Youcanfi nd Pros-Aideor example, isaProstheticAdhesivethathas Prosthetic Adhesives:Pros-Aide,for for somefoams. or slushintomolds.Isalsousedasaskin blend theedgesofappliances,pourorpaint to buildappliancesdirectlyontotheskin, different reasons.LiquidLatexcanbeused Liquid Latex:Alsoinclear.Usedformany becomes anall-purposeproduct. one ofthoseitemsyouhaveinyourkitthat or decorationstothefaceandbody.Thisis skin, blendingedges,andapplyingjewelry building smallwoundsdirectlyontothe used forfi xing smallareasonappliances, often usedforeyelashapplication.Also Duo Adhesives:Alatex-basedproduct mention. There areotherusages,toonumerousto skin andtorepairdamagedappliances. often usedtoblendapplianceedgesintothe mixed togetherformathickpastethatis Cabosil MixedwithPros-Aide:Thesetwo Adhesives TERMS Spirit gum does take longer to dry than Removers other adhesives. Spirit gum is good to use Most often, to be safe, you should buy the for short time frames or in fashion, applying remover that goes with the adhesive you are objects to the skin (beads or crystals, for using. Many products are made to be used example). You can fi nd spirit gum in together in this way. Removers can be different formulas—regular, matte, extra solvent based, alcohol based, hydrocarbon matte, or extra hold. Spirit gum in matte based, soap based, oil based, non-oily, formulas is often used for lace pieces made with fl ammable solvents or because the adhesive dries with no shine. nonfl ammable solvents, and can be thinned with water. Silicone Adhesive: In its raw form, silicone adhesive is composed of minerals. Silicone There are removers that have emollients to adhesive is also found under medical protect the skin for drying. They can be adhesives. It has a strong hold and is fast odor free, hypoallergenic, in cream or gel 215 drying. Silicone adhesives in general work form for easier use. well on sensitive skin and are resistant to water. They are used often by Makeup Artists. REFERENCES Tapes: Can be thin, wide, double sided, Diaz, Ken www.kd151.com. textured, and transparent. There are many Haney, Kevin, published in Dick Smith’s usages for tapes found in different materials. Advanced Professional Make-Up Course, There are medical-grade adhesive tapes; Update #3, page 4. tapes to apply hairpieces; to secure bald Mosko, Gil. www.gmfoam.com. caps; and to hide or protect small cuts, wounds, and body art on the face and Mungle, Matthew, WM Creations, Inc.. body—just to name a few. www.matthewwmungle.com.

Water-Soluble Adhesive: Adhesive that is Myers, Kenny. www.ppi.cc. easily removed with soap and water. Tinsley, Christien, Tinsley Transfers. www.tinsleytransfers.com.

Th inners Internet Resources Thinners are made to dilute or thin adhesive www.burmanfoam.com. products. Most adhesives have a matching www.dow.com. thinner to go with their product. For example, Telesis 5 Thinner works with www.fxwarehouse.com. thinning Telesis Silicon Adhesives. www.gelatin.co.za. www.getspfx.com. Skin Primers www.naimies.com. Primers protect the skin from adhesives or products. They set and preserve the www.sculpt.com. makeup. www.smooth-on.com.

a Pro a 12 Be to How

© MARY BIRCHLER DESIGNS 218 HOW TO BE A PRO hire, andhowtowatchthe set. dos anddon’tsofaDayChecker fordaily following willhelpyoutounderstand the make sureyouareontheright track.The each othercanbetough.There arewaysto have alreadyestablishedarelationshipwith already beinprogresswithagroupwho information, walkingintoajobthatmight of beingcalledtoworkwithoutmuch look oftheshoot.Doasyou’retold!Ontop the departmentheadsinchargeabout have alreadybeenmanydecisionsmadeby products touseforthejobyouareon.There when givendirectionsonhowandwhat Please leaveyouregooutoftheequation in anysituationisnotfollowdirections! the biggestmistakesaMakeupArtistcando Makeup Artistsinthemaintrailer.Oneof with whatyousayandtoochattythe real job.Don’tallowyourselftobecareless remember thatyouareatworkandthisisa chummy andlaidbackitmightseem,tryto Makeup Department.Nomatterhow idea ofhowthedepartmentheadsruntheir someone anumberoftimes,you’llgetan Checkers. Onceyouhaveworkedwith is arealneedforgooddailyhires,orDay at worktoadvanceyourowncareer.There set, todothejobaskedandnotusetime heads lookforsomeonetheycantruston- good observer,you’llgofar.Department the abilitytothinkonyourfeetandarea you aresomeonewhoistalentedplushave amount ofresponsibilityandknow-how.If Working asadailyhiretakescertain day basis;thisisknownaschecking. Sometimes MakeupArtistsworkonaday-to- TELEVISION INDUSTRY DAY CHECKING:FILMAND background playersthereare, whatisthe notes onwhatisbeingshot, howmany call sheet,readitcarefully. Take mental a callfromanAD.Whenyou dogetyour yourself togetworkthe next day.Expect proactive andgettheinformationyouneed sense acrazy,hecticsituation,sobe trailer andontime.Sometimesyoucan reliable toﬁ nd yourwaytotheMakeup to worryabout.Theyknowyouwillbe makes onelessthingfortheMakeupArtist times. Itisaplustosayyesbecausethat contact youtoaskifhaveyourcall Many timesdepartmentheadswill make thecalls. member ofthemakeupdepartmentwill to givecalltimes,butinsomecasesa with thehelpofproductiondepartment time. NotethatitistheAD’sdepartment to remindProductionthatyouneedacall have notheardfromsomeonebythen,call the nightbeforeyouaretowork.If Wait aboutanhourafterProductionwraps members tobecontactedforcalltimes. can thenaddyoutothelistofCrew board andinwhatdepartment.Production you are.InformProductionthatareon- Production yourselftoletthemknowwho full plate.Youcanhelpbycontacting the Makeupteamalreadyworkinghasa such asaproductionnumber.Sometimes be suretogettheinformationyouneed, department headoranotherMakeupArtist, and 12.2).Ifyouhavebeencontactedbya for thedayyouareworking(Figures12.1 Department tofaxoremailyouacallsheet When calledintowork,asktheProduction DAILY HIREFORFILM DAY CHECKINGDOS: DIRECTOR: PRODUCERS: DATE: EXEC. PRODUCER: DAY: OF PROD OFFICE: 110 LEROY STREET, 5TH "THE DUMMY" FLR CREW CALL: NEW YORK, NEW YORK 10014 P.O. PH# 212 555 1212 FAX # 212 555 1212 SHOOT CALL: Weather: CALL SHEET SUNRISE: SUNSET: NO FORCED CALLS OR EARLY CALLS, WITHOUT PRIOR APPROVAL OF U.P.M. TES SENECS TSAC SGPN/D NOITACOL

219 TOTAL CAST PART OF MAKE-UP SET CALL TRANSPORTATION #1 #2 #3 #4

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BACKGROUND TO INCLUDE: SET DRES:

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FIGURE 12-1: CALL SHEET FRONT 220 HOW TO BE A PRO FIGURE 12-2:CALL SHEETBACK CREW CALL: 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Electrician 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 STAFF&CREW # 1 1 1 1 1 Base CampGennyOp. Electrician Electrician B.B. Electric Gaffer B.B. RiggingGrip Key RiggingGrip Company Grip "B" CamDollyGrip Dolly Grip B.B. Grip Key Grip Stills Photographer "B" Cam2ndAC "B" Cam1stAC "B" CameraOperator Loader "A" Cam.2ndA.C. "A" Cam.1stA.C. "A" Cam.Operator D.P. Script Supervisor Addl. P.A. Set P.A. Set P.A. Set P.A. Set P.A. Set P.A. 2nd A.D. 2nd A.D. 1st A.D. Prod. Supervisor EP/UPM Director Dialect Coach Product Placement VFX Coordinator VFX Producer VFX Supervisor SPFX SFX Coordinator Video Playback Cable Boom Mixer Rigging Gaffer Genny Operator Electrician Addl. P.A. Addl. P.A. Addl. P.A. SPECIAL EFFECTS MISCELLANEOUS VISUAL EFFECTS SOUND &VIDEO SET LIGHTING PRODUCTION CAMERA TRANSPORTATION GRIPS Mariana Hellmund NAME alTm STAFF&CREW # Call Time 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 Extras Casting Key Carpenter Extras CastingDir. Shop P.A. Casting Assistant Casting Associate Casting Director Stand ByScenic Scenic Charge Shop Electric Const. Grip Key Const.Grip Constuction Foreman Construction Coord Art Dept.P.A. Art Dept.Coord. Asst. ArtDirector Art Director Prod. Designer Addl OnSetDresser Addl OnSetDresser On SetDresser Leadman Set Decorator Prop Assist Asst. PropMaster Prop Master Costumer Costumer Key Costumer Cost. Supervisor Costume Designer Hair Stylist Key Hair Hair DeptHead Makeup Key Makeup Makeup DeptHead ART DEPARTMENT CONSTRUCTION MAKEUP/HAIR SET DRESSING WARDROBE re n gis e D .tss A PROPERTY CASTING SCENICS NAME alTm STAFF&CREW # Call Time P/U P/U P/U 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 x x x x x 1 Single Trailer(s) Breakfast Ready@ 1st AssistantEditor Editor Hair MakeUpTrlr Director's Car 3 Banger 15 PassVans 2 Banger(s) Honeywagon Wardrobe/MU Trailer Camera Truck Electric Truck Grip Truck Prop Truck Editor Caterer Transpo Co-Captain Transpo. Captain Assist to Assist to Assist toDirector Assist toProducer Assist toProducer Assist toDirector Craft Service Lunch Ready@ Chef Company Locations Intern Locations Scout Location Asst. Location Asst. Location Asst. Location Asst. Location Asst. Locations Coord. Asst. LocationMgr Location Manager Payroll Accountant 2nd AsstAcct. 1st AssistantAcct. Production Acct. Publicist Offfice Intern Office P.A. Office P.A. Prod. Secretary A.P.O.C. Prod. Coordinator VEHICLES &EQUIPMENT PRODUCTION OFFICE TRANSPORTATION DIRECTOR &CASTPICKUPS ADDL EQUIPMENT SET OPERATIONS DATE: ACCOUNTING Crew: Crew: Crew ASSISTANTS B.G.: B.G.: B.G. LOCATIONS EDITORIAL CATERING @ ydaeR NAME Call Time O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O/C O N R R P S A E P T time period, whether it day or night, what parts they will be playing is important interior or exterior. information for preparing what you will need to bring to work. The call sheet will also tell Why is it important to know these things? If you where to go and what time to be there, the weather is bad, bring the right things to who to call in cases of an emergency, and wear. Are you outside all day? Be prepared who else will be working with you. The to work under any weather situations and following numbers correspond to the for long lengths of time. Layered clothing is numbers on the call sheet and explain what a must when working outdoors; bring items they mean. A fi lm call sheet is two sided; a such as scarves, rain boots, coats, and commercial call sheet typically is one sided. sweaters. Maybe your set bag needs to be This is a fi lm call sheet. plastic or covered to protect it from the rain. Should you bring an umbrella? What if • Name of the production company, their you are outside all day and it is hot? location, and phone numbers. In case 221 Sunscreen will be a must to apply on there is an emergency, you can contact the yourself and on the actors you are working Production offi ce to fi nd out what your call on. Hats also protect you from the sun. times are or where you are supposed to be. Sunglasses help with the glare. Working • Names of all the Producers, Assistant indoors can mean cramped spaces, humid Directors (ADs), Writers, and the Director. air, and possible excess sweat. Indoors, you It is good to know who the ADs will be. might want to stay compact and bring a Besides the makeup department, you will small portable fan for a little airfl ow. How be dealing with AD department. They many background players are coming in? control the set, the schedule, and the Reading this information will tell you how environment on the set. busy it is going to get. The call sheet will also tell you what time period the movie is • The fi rst time listed is the crew call. This in for that day. Adjust your makeup kit to is also called the general crew call, and is what you’ll need. Don’t bring in natural the time that most of the crew reports for makeup colors if you are creating 1980s work. Not the makeup department, we characters. Use common sense. These are have a separate call time, usually much just a few examples of why it is important earlier. Do not confuse the crew call with to read the call sheet and to fi gure out how the Makeup call, they are usually not the to prepare for the day. same. The second time listed is the shoot call. This is the time that production has scheduled to starting fi lming. Makeup ON THE JOB call times are on the back of the sheet How to Read a Call Sheet for fi lm and on the front of the sheet for Reading the call sheet gives you valuable commercials. information. If you are day checking, reading what scenes are being shot, how many • Date of the day of work. Amount of days background artists will be working, and the production has already been shooting. 222 HOW TO BE A PRO located. are beingheld,andwherethe foodis Holding andCatering:Wheretheextras shot. Locations: Wherethescene(s)is/arebeing scene beingshot. Cast: Thecastmembersappearinginthe scene beingshot. Pages: Thenumberofscriptpagesforthe scene. scene beingshotisadayornight D/N: DayorNight.Indicatesifthe indoors oroutdoors. what theshotlookslike.Ifis Set Description:Whatisbeingshotand being shotthatday. SC(scene): Scenenumbersinthescript someone on-set. to contactgetpermissionbring the set.Therewillbenameslistedforyou work. Itisnotatimetoshowyourfriends Please rememberthisrule.Youarethereto Closed Set:Aclosedsetmeansnovisitors. your makeupkits,orforactors. include anyprotectionyoumightneedfor comfortable andprotected.Thiswouldalso Helps youdecidewhattowearbe Weather forecastforthedayofshooting. work. Crew Call:thetimeiscalledinto filming themoretired! working. Themoredaystheyhavebeen Department mightbewhenyoufi judge howfreshortiredtheMakeup This isgoodtoknowbecauseyoucan rst start Dept. bloodfor scenexx. being workedthatday.Example: Makeup each departmentneedstohave forscenes Department Requirements: Notesonwhat actors. at whattimeforstand-insandbackground Remarks: Directionsonwheretoreportand background actorsreporttoset. Set Call:Thetimestand-insand and Wardrobe. background actorsreporttoHair,Makeup, Report: Whattimestand-insand day. Also,whatcharacterstheyplay. ins andbackgroundactorsareworkingthat Atmosphere Stand-ins:Howmanystand- they selfdrive. picked upfromtheirhotel,orhome,if Remarks: Whattimetheactorswillbe set. Set Call:Timetheactorsareexpectedon and Makeup. H/MU: Thetimetheactor(s)willgotoHair Reh: Timeofrehearsalsfortheactor(s). or off. work thatdayorareonhold,traveling Stat: Workstatusoftheactor.Showsifthey shooting schedule. to showthecharacteroncallsheetand is assignedanumber,thisnumberused the actor(s)willbeplaying.Eachcharacter Character(s): Name(s)ofthecharacter(s) Cast: Actorsworkingthatday. shot thatday. Total Pages:numberofpagesbeing Advance Schedule: What scenes will shoot work out everything for you. After a rate is and where for the next few days. agreed upon, the agency or Producers might ask for a résumé, reel, or CD of your work. Producers, Production Supervisor, and fi rst This happens mostly if you have never AD sign off on (approve) the call sheet. Set worked with the agency or Producers phone number and contact in case of an before, and they want to get an idea of what emergency. your makeup looks like in print, and who Flip side of the call sheet: All Departments you have worked for in the past. and the names of the Crew members listed and their call times. Makeup Kits for Day Checking Day checking, or daily hire, means you are DAY CHECKING: DAILY HIRE called in one day at a time. Even though FOR COMMERCIALS you might get a heads-up on more days, 223 don’t count on it. Anything can happen. Being called in as a daily hire for Although there are people who consider day commercials is similar to fi lm. There are a checking to be the least important part of few changes that you would need to be the Crew, that way of thinking is a big aware of. Call sheets are not as extensive, mistake. Department heads recognize the and tend to have all information on the importance of their daily-hire Crew. In front, sometimes with a storyboard attached general a department head that values their so you know how the commercial is being crew, runs a more effi cient crew and gets shot. You do not have to worry about better results in the fi nal outcome of the bringing in copies of your IDs. Copies makeup look desired for the fi lm. As a might be made for you by production, but matter of fact, on a large feature fi lm or even that might not happen. A day rate is project that Makeup Artists want to be also decided on between yourself and the involved with, they often work as Day Producers. What you charge is up to you, Checkers. Skill is so important on this level, but never go below the asking rate. for often you are left alone to make your Remember that the less you charge, the own judgment calls. more people perceive you as someone who is not in demand. When assisting another The right makeup kit for the right job is Makeup Artist, he or she will tell you what also important. If a department head has they have in the budget for you. Working phoned ahead to recommend bringing very with another pro is a good experience. little or just what is needed, take heed to Working by yourself means more that request. The department head knows responsibility, so remember to keep your what is going on with their shoot. There is rates where they should be. You’ll be asking always time to bring in a larger makeup kit for a fl at day rate, with overtime after 10 if you are hired for more days, or if you are hours and a kit fee. If you are with a assigned a specialized makeup procedure makeup agency, your representative will such as laying down sideburns for a period 224 HOW TO BE A PRO that youbuysmallsizescanberefi other professionals.Iwouldalsosuggest using productsthathavebeensuggestedby Artists—we areconstantlytryingoutor popular withotherworkingMakeup listed belowarebecausethey one oranotheriswrong.Theproducts Artist hastheirfavoriteproducts,andno addition ofhairproducts.EveryMakeup Makeup Kitwouldapply,butwiththe working anon-unionproduction,thissame Makeup Artist(Figure12.3).Ifyouare all yourneedsasaDayCheckerorunion The followingMakeupKitwillcoveryouin can bringwhatyoufeelisneeded. for thetimeperiodofmovie,andyou research ontheproductiongivesyouafeel doing orwhattobring.Doingalittle expressed toyouwhatitiswillbe town andtheMakeupDepartmenthasnot Every nowandthen,aproductioncomesto any specialmakeuptobringwithyou. conversations withthedepartmentheadon piece. Youmostlikelyhavehad CHECKER BAGANDCHAIR FIGURE 12-3:ATREATMENTBAG AND FILMDAY- or productsintubes,usesmalllabeled lled, Kiehl’sLipBalm#1with Sunscreen • L’annineHand andBodyCrème • Kiehl’sWashable CleansingMilkforDry, • RemingtonFaceShaverPreShavePoudre • CliniqueSkinSuppliesforMen,MShave • Kiehl’sMen’sAlcohol-FreeHerbalToner • TeraxBodyMoisturizingShavingCream • Kiehl’sUltimateBrushlessShavingCream • Kiehl’sCloseShaversShavingFormula • Kiehl’sBlueAstringentHerbalLotion • Kiehl’sCucumberHerbalAlcoholFree • Kiehl’sSodiumPCAOil-FreeMoisturizer • Kiehl’sUltraFacialMoisturizerforallskin • Bag the Treatment Gretchen’s for Treatment Products have itdowntotwo! three. Someartistsaregreatpackersand case, andasetchair.Theaveragepiecesare (including atreatmentbag),setbagor case, amakeupbagwithadditionalsupplies NOTE: mostartistshaveamakeupkitor products. Remembertostayportable! containers tofi ll withyourfavorite or NormaltoDry,Sensitive skintypes Aloe Gel #31-0 ounce containerwhenneeded) travel sizeandrefill fromthelarge16.9- (transfer toasmallerbottle,orusethe 16.9-ounce containerwhenneeded) the travelsizeandrefill fromthelarge Toner (transfertoasmallerbottle,oruse to thesurfaceoftheirskin) (for thosewhodonotwantanyoiladded types • Fresh Soy Face Cleanser Makeup Remover bag lightweight and portable for easy • Lancôme Bi-Facial Double Action Eye maneuverability while on-set. If you are Makeup Remover shooting outdoors, be sure to check the weather conditions. You might need to use • Evian Eau Minerale Naturelle Spray a case that is waterproof or covered if rain is • DHC Coenzyme Q10 Water Mist expected. A hard, portable gym locker bag • Travel-size container of witch hazel works well because it is compact and has a long strap for shoulder use, as well as • Sephora Makeup Brush Cleansing Wipes handles for carrying. It is also waterproof, • DHC Makeup Off Sheets so it works well outdoors in rustic • Wet Ones Moisture Wipes Travel Pack conditions that may include rain, snow, or high temperatures. Indoors or on smaller • Murad Day Reform Treatment (works well shoots, use a clear, larger set bag with long to apply on the skin before airbrushing) straps, and that rests close to the body. 225 • Sunscreen SPF 45 or higher With a clear bag, the contents are readily • Rubbing alcohol in a small bottle visible, which makes it easy to fi nd a • Natura Bisse Sponges specifi c product. (You’d be surprised at how hard it can be fi nding items when you need • Small, clean towels them fast!) • Eye Tees Precision Makeup Applicators Along with the products mentioned below, • Small scissors for cutting cuticles a small, clear cosmetic bag containing the • Larger scissors for all-around use products you will need to use on the actor • Diamancel Nail File for touch-ups on-set is useful. Large freezer bags would also work. If you have several • Disposable shavers actors to watch, use individual bags marked • No shred cotton pads with each actor’s name so there is no sharing • Sugar-free gum or mints in a variety of fl avors and brands • Norelco trimmer PRO TIP • Tissues Makeup Artist Jenny King Turko suggests Set Bag covering up your powder puff with a The contents of a set bag or case is an Kleenex tissue. After touch-ups, toss the individual’s preference. You can be on-set tissue away and put a new one around for long lengths of time, and might not be the powder puff. This way, you can touch able to get back to base camp if you have up large crowds without contaminating forgotten an item. Also, it depends on if you other people. are watching large background scenes or one or two individuals. Try to keep your set 226 HOW TO BE A PRO Day Checker Gretchen’s SetBag: ContentsSet Film for use. you ondecidingwhatproductsliketo to go.Bottomlineiswhateverworksfor I usuallyloadupthreeorfourpuffsready will keepbrushesandpowderpuffsseparate. products betweentheactors.Mostofall,this SmallJaoAntibacterialHand Refresher • Gumandmints ofchoice(regularand • • Visine • Refresh disposable eyedrops 3CutexNailPolishRemoverPads • • 1 eyedropper Tweezers,LauraMercierbyTweezerman • Smalleyepencilsharpener • • Band-Aids 1smallpairofscissors • 1smallbottleofglycerin • RemingtonFaceSaverPreShave • 1packageofdisposablemascarawands • • Pointy Q-tips EvianEauMineralSpray • DHCBodyCleansingCloths • WetOnesTravelPack • • Powder puffs • Sponges PeterThomasRothClinicalSkinCareMax • • Kleenex tissues Checker Bag) (See Fig.12-03forPictureofFilmDay sugar-free) Anti ShineMattifyingGel • Braun electric shaver ReelColor Palette Cover-Up/EffectsKit • SkinIllustrator FXPalette • SkinIllustrator FleshTonePalette • SmallsqueezebottleofKenDiazKD151 • 1coloreachofTweenTimecolorsforhair • 1mentholvaporfortheeyes • 1blackeyepencil • 1redeyepencil • • SmashBox Compact Anti-Shine PeterThomasRothAnti-Shine • Nocolorpowderpressedcompact • NaturalRiceOilAbsorbingPaper • LancômeDualFinishPowderMakeup • YvesSaintLaurentToucheEsclatRadiant • 2eye shadowpaletteswiththefollowing • 2containersofindividualeyelashesin • • Andrea Eyelash Adhesive SmallKiel’sCreamyEyeTreatment • • Carmex SmallKiehl’sIntensiveTreatment • Kiehl’sLipBalmSPF15 • SmallLiseWaterSolutionDoubleInstant • SmallBlissBodyButter • Dark andLight Flowing BloodSyrup,Dryingin Brown BlottingPapers Tissues withRicePowderandBobbi Touch palettes byMakeUpForEverandViseart white, rust,grayblue,taupe);eyeshadow colors (black,darkbrown,lightoff- dark brownandblack Moisturizer Eye MakeupRemover The last fi ve items of the above list I store in • Air Craft Airbrush Makeup in all colors my set chair (if not needed) and then they • Shiseido Stick Foundations are readily available on set. • RCMA KO/MB Palette by Vincent Kehoe • Sehora makeup brush cleaning wipes PRO TIP • Visiora MV in all colors Working in HD, I rarely use powder. If • DermaColor Camoufl age System you need to use powder switch between • Mellow Yellow by Ben Nye several products like anti-shine, blotting • A few setup towels papers, and no color pressed powder, to avoid too much build up. • 1 metal palette to blend makeup

• 1 book of artist paper to blend makeup 227 • 1 palette knife • RCMA No Color Powder Gretchen’s Makeup Bag for Film Day Checker • Laura Mercier Secret Brightening The makeup you bring as a Day Checker on Powder a fi lm set can be contained in a bag or case • Lancôme Dual Finish Powder Makeup of some sort. If you are directed to bring makeup for a certain character or time • Iman Pressed Powders period, you should adjust the contents of • Guerlain Bronzing Powders your makeup bag to fi t the need. If the • Tarte Stick Color Stains in all colors job is going to entail helping out the • Eye shadow palettes in various colors department head most of the time, and is (I like to have a shadow palette that is not so much about applying a lot of compact that I can use on anybody for makeup, you won’t need to bring a bulky large crowds. Colors in black, dark brown, case. A clear bag with a large strap and taupe, creams, white, blue, violet, green, handle that can accommodate only what is and gray. Personally, I have every NARS necessary should work. What you do and compact that has come out! My favorite how you transport your makeup becomes for on-set is Skin Deep.) a personal challenge. Changing out your makeup to fi t the job at hand happens no • Eye shadow palettes in frosty gold tones matter how well you think you’re organized. • Eye shadow palettes in frosty silver Having at home a few different makeup tones bags or cases already set up and ready to go • Blushers (Blushers should be simple. Light helps cut down the “What to bring?” pink, coral, burgundy, red if needed, question. and a warm neutral color. Again, I can (See Fig. 12-03 for Picture of Film Day usually fi nd this combination of colors in Checker Bag) a palette, therefore I don’t need to bring a 228 HOW TO BE A PRO W.MCreations, Inc.Stacolorpalette(full • Brushrollwith avarietyofbrushes • TrishMcEvoy HighVolumeMascara • • Lancôme Defi LauraMercierEyeBasicsLiner • LauraMercierSecretBrightener • BobbiBrowneyebrightener • Avarietyoflipglossesintubes • LipPencils:M•A•CRosewood,Trish • Eyepencilsinblack,darkbrown, • Browpencilsinallthebrowcolors • BobbiBrownLongWearGelEyeliners in • LauraMercierBrowPowderDuosinall • Kiehl’sLipBalmSPF15 • Kiehl’sLipBalmSPF15inhues30Gand • • Lancôme Defi palette) Mascara of thecolors color. YvesSaintLaurentToucheÉclat,all coral tones,reds,burgundy,andarust will workinanysituation:pinktones, LipColor Cherub.Plusafewcolorsthat Stick Inspire,Mauvelle,Lancôme By Terry#11,#12,LancômeLipColoring M•A•C Mahogany,GuerlainRouge#2, McEvoy DeepNude,T.LeClercTendre, blue, darkgreen,andwhite all colors colors 58B can useifsomeonehasadryskintone.) together. Ihaveoneortwocreamsthat a goodcombinationofcolorsyoucanput lot ofloosecolors.MakeUpForEverhas nicils HighDefi nicils WaterproofMascara nition chairs totheset. don’t assumethateveryonebringstheir down onthejob.Althoughthisisrare, Makeup teamdoesnotbelieveinsitting are doing.Insomecases,theProductionor department headsandobservewhatthey to moveinahurry.Feeloutyour conditions. Thechairiscompactandeasy pieces ofclothingfordifferentweather You willfi nd yourselfstoringthoseextra below thatIcanstockupwithextraitems. I stilllikemylargerchairthathasapocket chairs surfacethatweallliketocheckout. their favorites.Everyday,newbagsand time youdospendshooting.Everyonehas it isimportantbecauseoftheamount you aresittinglonglengthsoftime.Infi use thesetchair,butitisgoodtohaveif There isnotalwaysareasonyouhaveto Set Chair keep theirlicensecurrent. hairstylists arelicensedincosmetology and Hairstylist. Theunionrequires thatall they willhireaMakeupArtist anda shoot withabudgetfortwo ormoreartists, defi working onanon-unionshoot,youmost qualifi commercial. Donotdohairifyouare person doesmakeupandhairfora well asthemakeupkit.Inmanycasesone probably willneedtobringahairkitas between thetwo.Foronething,you similar tofi lm. Thereareafewdifferences Makeup kitsforthecommercialworldare COMMERCIAL VERSESFILM Handheldfan(forthosehotdaysor • sets) nitely willbedoingboth.Onaunion ed orcomfortablewithit.Ifyouare lm, Just as with fi lm shoots, someone should be will need a copy of your makeup kit rental contacting you with your call times the day inventory, which includes a total value and before you are to work. Call sheets are product list, an invoice for your makeup kit usually faxed or emailed. Follow the rental fee (or Box Rental), and a copy of directions and get to work on time! your IDs. Whatever you do, don’t forget to bring these in. Everyone is so busy; for When you reach Crew parking, you’ll be Production to hear your reasons for escorted by a van to the Makeup setups. In forgetting is beside the point. They need commercials, RVs are usually used instead the information to process your start of Makeup star trailers. There can be several papers so you can get paid. Try to make life locations in one day, so traveling is easier easier for everyone. I usually have for Production in RVs. Plus, the number of several copies ready to go ahead of time. Fill actors you’ll be working on at one time can out the correct information for that job. I be smaller. Of course, this isn’t always the put the papers in my makeup kit so 229 case. not to forget. The Makeup Department Once you have set up, an AD should start should have your start paperwork on the bringing in your actors. Once done, you’re fi rst day to fi ll out and turn in. The off to set! On commercials, clients who are combination of the papers you brought in representing the company that is being and the start papers you’ll fi ll out are turned fi lmed are on-set. Clients are there to make in together. If the Makeup Department does sure the company is getting what they need not have start papers for you, fi nd the out of the shoot. Be professional at all times. Production trailer and get the papers You never know who is listening or who it yourself. Again, it looks good for you to is that you might be talking to. know where to go and what to fi ll out correctly. If you have any questions about At the end of the shooting day, make sure your rate or pay, if no one has told you, or you’ve fi lled out your time card. Turn in if they don’t know, ask your local union. If your time card to Production. Be sure to the Makeup Department is from a different stay for the actors to help remove any Local they might not know your rate. Rate makeup if needed. If there is room, I like to of pay fl uctuates with regions and union have hot towels available. locals. If you think about it, not knowing Now you can fi nd your way back to Crew what your salary will be isn’t very parking. Drive carefully and slowly going professional. back home. You’ve worked long hours. A Kit Fee is also called a Box Rental and is based on a daily fee paid to you to cover the TIME CARDS AND KIT FEES: cost of working out of you kit. It covers your INSTRUCTIONS makeup brushes and makeup products— Get your start paper documentation in order your kit. Almost always, expendables are to bring with you. On union shoots, you provided by the makeup department (in 230 HOW TO BE A PRO everything. Ifsomethingisneededforthe Q-tips, etc.Incommercialsyouprovide sponges, puffs,alcohol,brushcleaner, Expendables aretissue,cottonballs, Always bereadytowork! case theyarenottherewhenyoustartwork. film), butalwayspackplentyofsuppliesin TRAILER—INSIDE FIGURE 12-5:ANEASTCOASTMAKEUP TRAILER—OUTSIDE FIGURE 12-4:ANEASTCOASTMAKEUP day checking. makeup budget;itisnotnegotiablewith the KitFeeissetbyproductionand with theirrate.Indaycheckingonafi artists haveastandardfeetheychargealong Kit Feesarenegotiatedforeachjob;most can turninthereceiptforreimbursement. commercial thatyouhavetopurchase, TRAILER—INSIDE FIGURE 12-7:AWESTCOASTMAKEUP TRAILER—OUTSIDE FIGURE 12-6:AWESTCOASTMAKEUP lm, This way it is great to get notes or directions on where you are supposed to report and PRO TIP what makeup you will be doing that day. Many times you will be asked to go and set East coast trailers are more stable, and built up, and the Key Makeup Artist will fi nd you for cold weather, so they are heavier with to explain what they want. This could also less “bounce.” West coast trailers are not be the Third or Fourth Makeup Artist. built for cold weather so they are lighter Whoever is in charge of supervising the and can “bounce” when someone steps in additional makeup artists and the look of side. “Stepping up” is call out before enter- the background artists will be the one to go ing a makeup trailer for this reason. They to with questions. tend to be wider with more fl oor space. In Europe, work is done out of customized A typical makeup department has: buses. European buses and trucks are nar- 1) Makeup Department Head (Chief 231 rower to accommodate the environment: Makeup Artist in Europe) in charge of narrow streets and tight parking. designing and running the department 2) Assistant Makeup Department Head 3) Key Makeup Artist When arriving on-set for the fi rst time, if you do not know where to report, check in 4) Makeup Artist with the department head so they know you 5) Additional Makeup Artists. are here. Knock softly and peek in. There isn’t really any need to go into the trailer There can also be a Makeup Designer. If unless invited. Remember, the Makeup team there is a Makeup Designer, the department could have already been working for hours head will work with them in running the before you got there. Keep your energy calm department and implementing their designs. and soothing. Makeup trailers bounce, so watch how much you need to go in and CROWD SCENES out. Do not slam a door. Lift the handle Background refers to background artists gently to open and close. If invited in, keep (actors) or extras working in a scene. most of your things outside the trailer until you get an idea of where you will set up You will hear many terms for background: and what you’ll need. I usually leave my set BG, extra’s, background players, chair outside. If you have already been told background artists, and background actors. where to report, do not go to the Makeup There can be from 1 to 500 or more trailer. You do not need to check in with background in any given scene. Imagine a the department head. They have assigned a park scene with two principal actors sitting member of the makeup department to “run” on a bench. Everyone around them has the additional hires or day checkers, and been placed by the ADs, with directions this is the person you will be checking in from the ADs for their actions and with. motivations. These background actors have 232 HOW TO BE A PRO actor’s continuity,sonever assume thatthey cover thatperson!Youdonot knowthe actor onsetunlessyouhave beenaskedto On setnote:nevertouchup aprinciple Supervising MakeupArtist. directions fromthedepartmentheador the process.Alwaysfollowspecifi products workordonotspeedsup an ideaofwhatmakeupcolorsand working inlargecrowdsituations.Having that day.Swiftnessisimportantwhen list ofthedifferentlooksforbackground Supervising MakeupArtistwillgiveyoua the callsheet.Insomecases, background canbefoundonthefrontof for theactors.Descriptionsofspecial on whatheorshewantsasfarthelook department headwillgiveyoudirections work onmanyactorsinoneday.The Working inbackground,youwilloften who hasthisresponsibility. to set.Thedepartmentheadwilldecide who needsmakeupandisreadytogo AD hasassembledforyou,andtodecide asked tolookatthebackgroundthat Check theBackground:Youarebeing background. away fromset,designatedforthe where togo.Usuallyalargeroomortent Holding: Wheretoshowupforwork,or Report toBackgroundHoldingorExtras in thebackground. you arehiredtodomakeupfortheactors Working WithBackground:Thatmeans Instructions youwillhearare: brought toset. and MakeupDepartmentsbeforebeing already gonethroughtheCostume,Hair, c are askedto“use MV005”or“use “makeup slang”forproducts. Example:you times thatinstructionsaregiven toyouin quickly, onset.Therewillalso bemany makeup situationswhereyou havetowork of yourkit,andforthoseunplanned resistant. Theyareessentialinworkingout makeup thatislonglastingandabrasion encourage mixingtocreateamorerealistic Creations areIndustryStandardsthat Skin illustrator,stacolors,andReel we’ve mentionedbefore,thepalettesfrom Industry Standardsthatareinyourkit.As by theMakeupDepartment.Yourelyon purchased productsthataregiventoyou with whatisinyourkit,andnotspecially to tellyouthatwillbecreatinglooks your kit”isatermusedbymakeupartists create anyoftheselooks.“Workingout palettes inyourmakeupkitsothatyoucan You willneedavarietyofproductsand WORKING OUTOFYOURKIT period makeup. other commonmakeupsituationsarefor reporters, newsanchors,andchildren.The a restaurant,waitresses,bartenders,news people, drugaddicts,pedestrians,dinersin of thosewouldbepoliceoffi used regularlyinfi lm andtelevision.Afew There arecertainmakeuplooksthat unsure, ask! and powderingeveryoneinsight.Ifyouare department headbybeinganoverachiever for, anddon’ttrytoimpressyour the actorsareandwhoyouresponsible artists thatarearoundthem.Soknowwho are theretotakecareofthebackground need tobepowderedortouchedup.You cers, homeless cers, Visiora005,” or just “use 005.” These three terms are referring to the same one product, that if you do not know what it is, you will not know that you are being asked to apply foundation using this specifi c color (Industry Standard). Makeup and fi lm slang abbreviate just about everything, including products, and sometimes instructions. It is confusing at fi rst, but you will get the hang of it. Remember, if you don’t know, ask!

FIGURE 12-8: A HOMELESS PERSON Having trouble remembering what colors to use or which looks to do for a certain period makeup? Tape a color chart and 233 notes on each period inside your makeup kit for a quick reference guide.

Remember color mixing from Chapter 3?

Red: You can mix yellow and magenta to get red.

Blue: Mix magenta and cyan.

Green: Mix cyan and yellow.

Purple: Mix violet and magenta. FIGURE 12-9: A DRUG ADDICT Black, White, and Gray: Mix white into black until you get the desired shade.

Knowing combinations gives you so many choices to work with!

Now separate the three background actor looks of homeless (Figure 12.8), drug addict (Figure 12.9), and illness (Figure 12.10) to see their differences.

Homeless • Red or sun-damaged skin with various sizes and colors of sun spots. • Skin tone has rough, leatherlike surface FIGURE 12-10: A PERSON WITH A COLD due to exposure to the elements. 234 HOW TO BE A PRO Insomesituations,thefeetmustbedone • Smallcutsorscabsontheface,with • • Darkness, puffi Facialhairwouldbeuntrimmed, • Ground-indirtonthebody,under • Lesionsofvarioussizesduetoillnessand • Brokencapillariesaroundthenoseand • department headorSupervising Makeup the desiredeffectshouldbe, fromthe directed astowhattheillness is,andwhat fl There aremanypossibilities forillness:cold, Illness Bruisingonvariouspartsofthebody,old • Trackmarksonthebodyfromshooting • Skinlesionsformfromdrugabuseand • Darknessformsundertheeyeareafrom • Theskintonetendstobepaleand • Addict Drug u, highfever,anddisease.Youwill be bruises. blackened withheavygrime,cuts,and as well.Thesolesofthefeetshouldbe weathered lips. and abovetheeye. unshaven, oily,anddirty. lack ofgrooming. fingernails, andevenbuilt-upgrimefrom injury. weather damage. cheeks toreflect substanceabuseand and new. up. illness. lack ofsleep. clammy fromdrugabuse. ness, andrednessunder prepared withagoodelectric razor,shave clean-cut appearance.Onall shoots,be clean shaven.Theoffi cers shouldhave a be trimmed.Thebackofthe neckneedsto Departments. Sometimessideburns needto Mustache’s areallowedformostPolice given onlybyyourdepartmenthead. should benofacialhair,withexceptions shave alllaw-enforcementcharacters.There One ofthefi rst thingsyou’lldoisclean Police Offi pencil. based makeuporafreshlysharpened working aroundtheeyes.Useacream- bruises. Careneedstobetakenwhen skin tones,andfesteringlesionsorold or tomakegrays.Yellowisusedfornails, plus onewhitetolightenanyexistingcolor used todeepenordarkenanexistingcolor, mix brownsfordirtandgrime.Oneblackis hand differentcolorsofbrownorto capillaries, rednoses,andlesions.Haveon red makeupcolorsareusedforbroken line forirritatedeyes.Severalshadesof area orapplyingrightonthelowerlash Red pencilcanbeusedforrimmingtheeye skin tone scenarios; andyoudonotwantaneven The worsetheylook,thebetter,inallthree corrective makeuponthesecharacters?No. Would youapplyfoundationordoany could beclammy.Adrynesstothemouth. droopy, evenwatery.Palerskintonethat dry, fl aky skin.Eyescanappearredand Cold/Flu: Redtonesaroundthenosewith are foracold/fl Artist. Forthisexample,yourinstructions cers u. powder stick, astringent of choice, and a small groomer for eyebrows, ears, and nose.

News Reporter and News Anchors News anchors and reporters usually have a clean-cut appearance as well. If there is a time period issue, you will be told to address that issue. If it is present time, the anchor look is what to aim toward. Work quickly, and spot cover up only the problem areas. Apply a slightly heavy beauty makeup; to FIGURE 12-11: A 1950S MAKEUP LOOK achieve a matte, perfect look. Most of the time, lipstick, blusher, eye shadow, and brows are all you will have to do to achieve a 235 news anchor look. The Hair Department will pull the look together. Reporters and anchor types sometimes are pulled ahead of everyone else to go through the Makeup Department because they are usually featured in the scene.

Period Makeup

Refers to a specifi c time period for the look FIGURE 12-12: A 1960S MAKEUP LOOK or trend of that time. Say you are asked to do a period makeup, taking fi ve minutes for eye lash line, beautifully shaped and fi lled each actress because the actresses are in a in eyebrows. Apply lipstick, eyeliner, and large crowd scene. If you could do only brows. A very clean, sometimes innocent, three things on the actress, what would you classic look. Note the shape of the lips. do to execute the makeup properly for the 1960s (Figure 12.12): Pale fl at or frosty following time periods? And what sets each (but never glossy) lipsticks, strong upper time period apart from the others? We will and lower eyeliners, contrasting eye give you some very general looks for each shadows on the eyelids. For example: light decade. You must do your own research for shadow on the lid; a deep, dark eye shadow each decade to recognize and know a more in the crease; followed by a light eye detailed history of the trends. shadow applied on the brow bone. The look 1950s (Figure 12.11): Red lips, pale eye is about eyes, so note the style in eye shadows applied to the upper eyelids, nice shadow, eyeliner, and brows, as well as the liquid eyeliner across the upper eyelid next lips. Apply lipstick, eyeliners, and eye to the lash line, no eyeliner on the lower shadows. 236 HOW TO BE A PRO look theyare trying tocreate.Ingeneral to theMakeupDepartment head onwhat late ’70s,soquestionsshould beaddressed Makeup variesfromtheearly ’70stothe Example ofaDecadeinMakeup: Sun-tanned skin. blush andlipsincorals,pinksfrosts. blues, brown)withorwithouteyeliner; shadow wascolorfulandwarm(greens, hairpieces, andsettinggelsofanykind.Eye meaning thatitwasdevoidofhairspray, hair naturalwhetherlongorshort.Natural, men. Bythemid1970s,womenkepttheir large partofre-creatingthe’70slookfor and fullmustaches.Hence,facialhairisa widened astheyextendeddowntheface, which includedlongsideburnsthatoften In addition,facialhairhadbecomepopular, and beganwearingtheirhairmuchlonger. collar” hairrestrictionsofpreviousdecades, society. Menhadcastoffthe“above-themakeup wasseepingintomainstream Freedom ofexpressionthroughfashionand in bythecounterculturefrom1960s. the early1970swereridingwaveushered 1970s (Figure12.13):Womenandmenin FIGURE 12-13:A1970SMAKEUPLOOK FIGURE 12-14:A1980SMAKEUPLOOK all overthelid andcrease,withadramatic fuchsia, rusts,andreds.Apply eyeshadows blusher. Uselipsticksinpinks, purples, colorful lipstick,fulleyeshadow, and Three thingstouseforan’80s makeup: to mindwhenonethinksof an’80slook. shadow). Ofcourse,Madonnaalwayscomes or fuchsia-coloredlipstickswithpurpleeye shadows) tothepreppylook(girlswithrust punk look(withblacklinersanddarkeye used inthe’80s.Thecolorsrangedfrom has adifferenttakeonwhatcolorswere was thatyouhungoutwith,everyonetoday used asanartform.Dependingonwhoit was appliedheavy.Makeupandhairwere matter whatcolorsyouwereusing,makeup 1980s makeup, whatwouldtheybe? had onlythreethingstodocreatea’70s corals, pinks,oranges,andsoftreds.Ifyou earlier years.Lipstickcolorswerefoundin eye areaasliner,butmuchsofterthanin tones orblackwouldbeusedaroundthe not heavyorover-the-top.Darkbrown as eyeshadows.Makeupwasapplied,but blues, greens,andbrowncolorswereworn (Figure 12.14):Inthe1980s,no but lighter shade to the brow bone. number along. That’s what happened to me. Complete the look with a dramatic Still, in a city like Paris, it is hard to break contouring blusher across and just under in. In fashion, sending out your newest the cheekbone in a matching color to the editorials to Photographers and magazines lipstick. will keep them updated on your work.

Preparing for the Shoot PRO TIP For commercial shoots, it’s important to have all the information necessary from the There is a transition for each decade in client or Photographer. The client normally the looks and trends. It does not hap- knows exactly what they want, and they pen at the beginning of each decade, but expect the Makeup Artist to realize it. When a few years later. So there is an overlap I get a call for a commercial shoot, I will ask of trends between the beginning of one 237 the theme of the shoot, the makeup look decade and the end of the previous de- wanted, if it’s an inside or outside shoot, cade. Livestyle, environment, economics, and how many models. For beauty, it is and character play into it as well. Know important to ask the Photographer the the year if possible to achieve the look. If reference of the model. The Photographer the project is not being year specifi c but can either send her portfolio to you by wants a general feel of a period, choose to email, or you can look on the agency’s go for the obvious trends associated with website for the model’s portfolio book. the decade. Research, research, research! Once you have all the information, it is time Know the trends by heart, it puts you at a to start thinking about the makeup, great advantage. products, and to double-check to make sure you have everything you’ll need for the shoot. A lot of times, the Photographer, or even the client, does not know how to LESSONS FROM THE FIELD express themselves in the form of makeup EXAMPLE OF A BEAUTY MAKEUP and colors, so it’s up to me to fi nd the right (STORIES) SHOOT IN PARIS look. Working in fashion is different from by Daniela Eschbacher cinema. It can be spontaneous. When I started out in the fashion industry, Even if you agree on a certain look before I contacted as many Photographers and shooting, it might all change on the actual Stylists as possible to do “test shooting” workday. On larger, more-complicated fi rst to build up my portfolio and contacts. shoots, there are meetings before the job. In the beginning, it’s hard contacting The Stylist knows the clothes, so he or she everybody and running after magazines. But gives a direction and theme of the shoot. all that hard work pays off. After working It can be really helpful to work with an for magazines and commercials, people will Art Director or Stylist because they see get to know you and pass your name and the overall image. Sometimes a simple 238 HOW TO BE A PRO happen. commercial jobs,meetingsdonotalways discuss theproject.Ofcourse,for human totakethetimesitdownand the wholeprocessinteresting,fun,and important formeetingtheteam—itmakes sophisticated orcreative.Meetingsare makeup worksmuchbetterthanonetoo eyedrops, differentbases,a nail kit,body have asecuritykitwithme thatincludes throughout theday.Therefore, Ialways need muchmoreproducts and attention different fromworkingwith models.Actors tiring, butyouworkwithactors,whichis includes me.Commercialsarenotonlyvery for commercialsandphotography.That Many MakeupArtistshaveaseparatekit Makeup Kit makeup chair. when youfi rst seethemodelsittingin much aspossible,butalotofinspirationis simple orcomplicated.Trytoprepareas effects: shinyormatte,graphicshady, Once thecolorsarefi xed, Istartwith colors willcausetocomeacross. and whatatmosphereorfeelingsthose I thinkaboutallthecolorsthatwillbeused color, sobeforeIthinkaboutmymakeup, paintings. Formyself,Ilovetoworkwith The internetisone,butmostlybooksand design, getasmuchinspirationpossible. preparation behindit.Beforeyoustartto stressful. Evenso,Ilovetheworkand creativity oftheMakeupArtist—canbe stories whereeverybodycountsonthe working onpersonalshootsorbeauty Designing themakeup—especiallyifI’m theMakeup Designing Makeup Artist. Arden EightHourCream—amustforevery dead skin,andafterwardapplyElizabeth Sometimes Idoasoftpeelingtotakeoffthe the timetopreplipsproperly. is infrontofthecamera,unlessyoutake lips. Therecanbeadisasteroncethemodel important becausemostmodelshavedry skin. Applythehandcream.Lipsarevery be ingoodshape.Nooldnailpolishordry important tocheckthehands.Nailshave won’t makethemodelsweat.It’svery Multiusage DryOilhydratesverywelland affecting thefoundationafterward.Nuxe Natural oilsandvitaminsworkwellwithout not afanofheavycreamsormoisturizers. on theskin,anappropriatemoisturizer.I’m cleanser (Crealine),andapply,depending cleaning themodel’sfacewithamildliquid For fashionorbeautyshoots,startwith theModel Prepping eyelashes, andeyebrows,gloss willattract create averyfreshlook.On thecheeks, could beinteresting.Glosses ontheeyes makeup, youwanttolook for texturesthat rose, peach,andoranges.In beauty brown. Warmcolorsalsoworkwell:pink, makeup. Fromcreamywhitetochocolate Natural colorsworkbestinmostbeauty Makeup orStylized Beauty and there. myself ifpossible;therestIpickuphere stones, jewelry,andstencils.StencilsImake glosses, allsortsofeyelashes,powders, such asglitter,differenttexturesof kit hasalotofproductstocreateeffects, few items.Forphotography,themakeup cream andafi rst-aid kit,tonamejusta light. Because I work with an airbrush, Temptu products mixed with an SB solution work well.

There are no limits in beauty and fashion. Here are a few examples of different makeups for editorials or a beauty story.

Location Shoot: a Luxury Hotel in Paris The photographer used artifi cial light with an emphasis on strong contrasts. So FIGURE 12-15: DANIELE’S LUXURY HOTEL SHOOT makeup needs to refl ect well in the light. 239 Glosses, Oils, and Shimmers: After Th eme Shoot: Madonna theme cleaning the model’s face, apply natural oils The diffi culty was to create color onto the skin and the rest of the body that combinations that would express and will be seen. Your goal is to have smooth, strengthen the atmosphere and theme of the shiny, and elegant skin. Let the oils absorb shoot. I found my inspiration from religious before applying foundation. Use eye paintings and books. The colors dark red, products that are moist and creamy in golden, gray, white, and silver were used. texture, with soft eye pencils to work your Because wardrobe and hair had such a shape for the eyes, blending and adding as strong look, I didn’t want to complicate the you go. Purples and chocolate colors work makeup. When this happens, use a matte, well for this. To increase the contrasts, use a lightly applied foundation, no blush, and no powder shadow in gray or black in only the contouring. White eyeliner applied on the areas that are needed. inside of the eye will accentuate any color Mascara and individual false eyelashes just under the eye. In this case, a red and applied to the outside corners of the eyes yellow matte eye shadow from Make Up For add drama and depth. Foundation is Ever was applied on the eyelid and below applied next. Follow with loose powder to the lower lashes. No shaping or contouring set. Chanel has a good loose powder. A was used. Shadow was just posed on the bronzer was used to sculpt and shape the lid. When such strong colors are used, a face. Creating depth and contours is tissue laid under the eye you are working important in a shoot with contrast. The on protects the rest of the face from falling brows were shaped by using three pencils in shadow. Loose powder can also be used. a mix of brown, black, and gray. Colors you Natural lip colors help keep the makeup use will depend on your model, but a mix from being overwhelming. Shape the lips of three colors mimics the different colors of with a nude lip liner. Mix beige, purples, hair found in the brows. and pink lip glosses to achieve a natural 240 HOW TO BE A PRO color. that accentuatetheintensityofanother strong, it’salwaysthecombinationofcolors painting. Tocreatesomethingluminousand slowly godarker.It’slikeworkingona to workinlayers.Worktheshapesand Remember, withbothmakeups,youwant brow. look. Don’tforgettofi nish offwithastrong FIGURE 12-16:DANIELE’SMADONNA SHOOT chin—at thelastminute. areas—around thenose,forehead,and afterward tocorrectit.Powderonlycertain ups. It’sreallydiffi cult fortheretoucher Do notpowdertheface,especiallyforclose- stories. can beobviousinclose-upsandbeauty skin tendstoshineinphotolighting,and afterward. Anysortofglueremainingonthe on theskinistocleanaroundobject have tobecarefulofwhenyouglueobjects transparent eyelashglue.Theonlythingyou To glueanythingontheskinoreyes,Iuse TIPS process ofmakingagoodphoto. interesting toparticipateinthewhole and powdertheskin.It’ssomuchmore lips, addsomegloss,brushtheeyebrows, and knowingwhenitisagoodtimetoredo Photographer appreciatesyourtakingcharge away. Thisisveryhelpful.The computer andshowtheresultsstraight cameras thatdownloadrighttothe Photographers nowworkwithdigital see howthemakeupcomesacross.Most Ask thePhotographertodoatestphoto The studiocouldbecompletelyopposite. always bright,andthelightisquiteyellow. studio. Themakeuppreparationroomis check yourmakeupinthelightof When workinginphotographyalways ON-SET you aretoldaheadoftime, here aresome and white.Thenthedecision ismade.If Photoshop toseewhatitcould beinblack when thePhotographerworks with Sometimes it’sduringorafter shooting job isgoingtobecolororblackandwhite. In fashionshoots,itisnotalwayssaidifthe Black-and-White Photograph Tip products. prefer nottomixallkindsofskin-care makeup theywearforwork.Manymodels is understandablebecauseoftheamount have theirownproductswiththem,which especially aroundtheeyesandlips.Others prefer totakeofftheirownmakeup, pads arefastandeffi cient, too.Somemodels all skintypes.Butprepared,de-makeup Crealine, whichiseasytouseandgoodfor For makeupremovalInormallyuse Take theMakeup Down hints to think about. Work much more with brushes made with these bristles are the contrasts, and even exaggerate the inexpensive and are made in large quantity. intensity of colors and shades. There is a lot Raccoon: North American animal with a more “graphism” in black and white than in multicolored tail in grays and browns. color photography because we concentrate Raccoon brushes have a really soft texture. on the contrasts, shadows, and lighting instead of the color. Graphic lines and Sable: An animal from Siberia and Japan. structure work very well for the makeup, Sable is strong, fl exible, and takes to such as strong eyebrows, eyeliner, nice products well. Sable can be found in brown, colored matte lips, nicely posed blushes. white, or yellow. Kolinsky sable is a mink Still, it’s important to ask the Photographer found in Siberia and China, and is exactly how he or she is going to work their considered the best. Red sable is from the light. Maybe the Photographer wants the weasel family, and is often used in place of image to be contrast and sober, or Kolinsky sable. 241 something luminous and mild. Try to avoid Squirrel: Hair that is soft and holds water too much gloss or shiny skin, except if it’s effectively. It works best with liquids. desired to create a strong and wanted effect. For black-and-white photography, it’s Synthetic or Taklon: Brushes that are made important to have a nice balance between of nylon or polyester. Synthetic brushes are warm and cold tones to make the skin look considered reliable and strong. alive and beautiful.

Types of Brushes THINGS TO KNOW Angled Brush: These are cut to use at Makeup Brushes deﬁ ned angles. Blush brushes, shadow Types of Bristles brushes, brow brushes, powder brushes, Badger: One of the most popular and bronzers, and contour brushes are examples easiest to ﬁ nd. Badger hair quality depends of brushes that can be found cut at an on an array of factors. The highest quality is angle. In some cases, the bristles are stiffer. the neck hair, which is the softest and most Blush Brush: Soft, wider, rounded brush expensive of all badger hair. used to apply blusher color. Blush brushes Boar: Stronger and thicker than badger hair. are made from a variety of bristles.

Goat: Strong and soft. It’s used alone or Brow Brush: Angled or slant brushes with a mixed with other hairs in makeup brushes. stiff bristle for application of brow powders. Goat hair can be found in white, brown, or It’s also possible to ﬁ nd lash combs and red. brow brushes as duos.

Pony: Also known as camel hair. This is a Concealer Brush or Flat Brushes: term for brushes made from a variety of hair Concealer brushes are usually fl at brushes in such as squirrel, goat, ox, or pony. Usually a variety of sizes used for cream-based 242 HOW TO BE A PRO work wellwithliquidsand creams. cover wideareasoftheface andbody, synthetic tosable.Foundation brushescan be madeinavarietyofhair, including rounded orovalbristleshape. Bristlescan brushes areusuallylarger,fl atter, witha Face orFoundationBrushes:These with aroundedshapeatthetop. shadow colors.Thebristlesareusuallysoft, brush. Thebrushesareusedtoapplyeye many differentsizesandshapesofashadow Eye ShadoworFluffBrush:Thereare found. dry. Also,fl at eyelinerbrushescanbe bristles thatcanbeusedeffectivelywetor are linerbrushesthathaveseveraldifferent makeup suchasKRYOLANorMAC.There work, powder,liquid,orwater-activated point, whichworkswellforlining,detail sizes andbristles.Bristlesusuallytapertoa Eyeliner Brushes:Comeinavarietyof has beenapplied. are usedtoseparatethelashesaftermascara Eyelash Combs:Wireorplasticcombsthat blend existingwork. apply eyeshadowsinthecreaseareaandto in thebristles.Creasebrushesareusedto Crease Brush:Smaller,withabluntercut or atangles. defi edges andcontoursofthefacetocreate Contour Brush:Isusedtogetunder wet ordry. products. Manyfl at brushescanbeused products, under-eyeconcealer,andblending touch-ups, heavycoveragewithmultiple products. Thesebrushesaregoodforspot nition. Thebristlesareusuallycutblunt disperses intothebristles. When thebrushispumped, theproduct product insidethestemof the handle. Pump Brush:Brushesmadewiththe and touch-upson-set. powder application,settingthemakeup, in basicallythesamewayformakeupand brands, shapes,andmaterials,butallused Puffs: Thesearefoundinsomanydifferent any excesspowder. color, orwithpowdermakeuptodustoff for dustinglargeareasofthefacewithloose goat, sable,orbadgerhair.Theyaregood rounded, softerbristles,oftenmadewith Powder Brush:Largerbrusheswith blending blushormakeupcolors. covering ononeside.Theyareusedfor like asmallpaddlewithlamb’swool Paddle Brushes:Thesebrushesareshaped used toapplyliptreatmentsandcolors. the bristlesaremadeof.Lipbrushes brushes, fromshapesofthebristlestowhat Lip Brush:Therearemanychoicesoflip mascara. to separatethelashesafterapplying Lash Combs:combslasharemade The mostcommonshapeisafanordome. They comeinavarietyofsizesandshapes. used withmineral-typepowdermakeup. Kabuki Brushes:Brushesthatareoften stipple brush,orasablendingbrush. mascara, asapowderorblushbrush, application. Theycanbeusedforapplying powdered makeupandaddcolorwithasheer variety ofsizes.Fanbrushesdisperse Fan Brush:Shapedlikeafanandcomein Retractable: Brushes that can retract back KRYOLAN Water Soluble Spirit Gum: into the handle of the brush. Some lip Removes with soap and water. brushes and blush brushes are made Pros-Aide: Acrylic based, waterproof, strong retractable. hold, used mostly for appliances. Smudger: Any brush that is used to blend Telesis 5 Adhesive by Premiere Products, and smudge the makeup. Inc.: Silicone-based adhesive. Sponges: Are used for just about anything Very Flat matt Matt Gum by Naimies: you can think of. They come uncut in Used in the industry for lace fronts, facial squares or precut and as a brush form. hair, or wherever you don’t want to have Good sponges are gentle on the face, do not shine. soak up your liquid or cream makeup, and aid in blending. Different brands of sponges Xtra Hold Spirit Gum and Extra Hold are made from different materials. Plastic Spirit Gum by W.M. Creations, 243 Inc.: Two of the most popular spirit gums Stipple: Several blends of bristles in the in the industry. Used for fi ne lace fronts, brush, plus the shape of the brush works to foam, gelatin, and silicone appliances. create textures or as a blender.

Wet and Dry Brush: Brushes that are made Brush Cleaners with several different kinds of bristles that Cinema Secrets: Fast drying. can be used effectively wet or dry. Naimies: Fast drying.

INDUSTRY STANDARDS Eﬀ ects Products Antishines AM.E.K. Liquid Plastic by W.M. There are many products out there. Creations, Inc.: Use in stone or silicone Antishine creates a matte look to molds for wounds. wherever you apply product. We all have our favorite. One that’s been around for a Gelatin in Bulk: Burman Industries carries while is Make-up International’s Face to gelatin products. Face Supermatte. It works well for large Latex Products in Bulk: Burman Industries crowd scenes. carries a wide range of latex products.

Adhesives Old-Age Stipple Beta Bond Plus by Premiere Products, Old Age Stipple A, B, C, Crusty by W.M. Inc.: Acrylic adhesive for prosthetics. Creations, Inc.

K.D. 151 Ultra Matte Lace Adhesive: Green Marble SeLr by Premiere Products, Strong adhesive hold for action-packed Inc.: Developed by RSD Inc. and CMI. situations. Seals makeup, very durable, safe for 244 HOW TO BE A PRO Paint colorsthatmatchuptoRCMA. Pax PaintbyGMFoam:Premixed Tom SurprenantPaxPaints Pax Paint RCMA OldAgeStipple product. sensitive skins,andalsoworksasanaging Myers/CMI. Products, Inc.:CreatedbyKenny Skin IllustratorPalettesby Premiere Reel CreationsLiquidsby ReelCreations. Reel CreationsPalettesbyCreations. before theseproductsexisted. It’s hardtorememberwhatitwaslike products mentionedareIndustryStandards. Tattoo InkTypeProducts:Allofthe in VanNuys,California. inventory ofsilicone-relatedproducts.Based Burman Industries:Carriesagood Their websitesellsdirect. based manufacturerofSiliconProducts. Smooth-On Inc.:Easton,Pennsylvania- inBulk Silicon Product things suchaskeloidscarsandblisters. Acetone-based plasticmaterialusedtobuild Scar MaterialbyW.M.Creations,Inc.: for buildingupthree-dimensionalscabs. Pigmented, silicone-basedliquidthatisused Brown byW.M.Creations,Inc.: Scab MaterialsLight,Medium,Dark,and Shiny byW.M.Creations,Inc. Plastic SealersA,B,Soft,Extra Foundation Colors KRYOLAN TearStick Crystals: Amustforanymakeupkit. Burman IndustriesMentholBlowerand Tear Products to useonmen. media. Visioraisalsoawonderful makeup match ourindustrylightsand different coverage. Colorshavebeen formulatedto Visiora: Asheermakeupthathasa good tones. few makeuplinesthatunderstandsskin any beautyorcharactermakeup.Oneofthe colors comeineverypossiblerangefor line wecouldnotdowithout.Foundation RCMA: Withoutquestion,amakeup blushers andlipsticks. yellow. Greatpigmentintheirshadows, skin tonesfromlighttodark,including IMAN: Excellentmakeuplineforarangeof or touch-upson-set. colors, andiseasyfordoingquickmakeup makeup coverswell,hasalargeselectionof KRYOLAN DermacolorMiniPalette:This Ben NyeMellowYellow:Redneutralizer. and green. Ben NyeMellowOrange:Neutralizesblue Foundation Makeup orCorrection Makeup Products Stacolor Liquids Stacolor Palettes Myers/CMI. Products, Inc.:CreatedbyKenny Skin IllustratorLiquidsbyPremiere by W.M.Creations,Inc. by W.M.Creations,Inc. Water-Activated Makeup Super Solv by Premiere Products, Inc.: Ben Nye: Good for theatrical use. Non-oily. Extra strength but safe for sensitive skin. Gentle enough for lace fronts. Mehron: Good for theatrical use.

Studio Fix by MAC: Good for ﬂ esh tones, Sealers, Primers, and Fixers editorials, and stylized beauty makeup. Sealers protect your work, act as a stronger bond for adhesives, and act like a shield Makeup Palettes between the skin and a product. Viseart Palette of Neutrals: A simple palette of neutral colors. This palette is Green Marble SeLr Spray: Also can be perfect for your set bag. used as an aging product. RCMA Matte Plastic Sealer Powders Kett No Color: Pressed powder Soft Sealer by W.M. Creations, Inc.: Also 245 can be used as an aging product. Can be No Color Powder by RCMA. sprayed or stippled over makeup.

Top Guard by Premiere Products, Inc. Removers It’s always a safe bet to buy the same remover and adhesive that belong together. REFERENCES

Adklen Cleanser by RCMA: No travel- Internet Resources safety issues. www.dickblick.com

Beta Solv Remover: Works to remove Pax www.danielamakeup.com Beta Bond by Tom Surprenant. www.indeutsch.com Ben Nye Bond Off: Removes spirit gum, www.makeupartistschoice.com medical adhesive, and Pros-Aide. www.makeupcreations.com Delasco Detachol: Removes Pros-Aide. Is mild and hypoallergenic. www.naimies.com

Pax Remover by GM Foam: Removes Pax www.psdaimaandsons.com Paint. www.sephora.com RJS Adhesive Remover: No travel-safety issues. www.solomakeup.com This page intentionally left blank COSMETICS, TOOLS, LABS, AND EFFECTS

UNITED STATES Mark Trainer Facial Lifts California Motion Picture F/X Company Air Craft Cosmetics 123 South Victory Blvd. www.aircraftcosmetics.com Burbank, CA 91502 1800 900 2400 www.monsterclub.com 818 563 2366 Cinema Secrets, Inc. 4400 Riverside Dr. Naimies Beauty Center Burbank, CA 91505 12640 Riverside Dr. 247 www.cinemasecrets.com Valley Village, CA 91607 818 846 0579 www.naimies.com 818 655 9933 Don Jusko Color Wheels Frends Beauty Supply Premiere Products, Inc. 5270 Laurel Canyon Blvd. 10312 Norris Ave., Suite C North Hollywood, CA 91607 Pacoima, CA 91331 www.realcolorwheel.com www.ppi.cc 818 769 3834 800 346 4774 818 897 2440 GM Foam, Inc. Van Nuys, CA 14956 Delano St. Professional Vision Care Associates Van Nuys CA 91411 14607 Ventura Blvd. www.gmfoam.com Sherman Oaks, CA 91403 818 908 1087 www.fx4eyes.com 818 789 3311 Krembs, Inc. 420 East Easy St., Suite 1 Reel Creations, Inc. Simi Valley, CA 93065 7831 Alabama Ave www.krembs.com Ste. 21, Canoga Park, CA 91304 800 835 8267 www.reelcreations.com Email: [email protected] Kryolan Corp. 818 346 7335 132 Ninth St. San Francisco, CA 94103 Email: [email protected] www.kryolan.com 415 863 9684 248 COSMETICS, TOOLS, LABS, AND EFFECTS 1800 4548339 www.matthewwmungle.com/wmcreations Email: [email protected] North Hollywood,CA91601 5755 TujungaAve. W.M. Creation,Inc. www.tinsleytransfers.com Email: [email protected] Burbank, CA91510 PO Box10011 Tinsley Transfers,Inc. 818 8487838 www.tri-esssciences.com Burbank, CA TriEss 818 9858850 www.silpak.com North Hollywood,CA91601 10611 BurbankBlvd Silpak 212 7573734 www.alconeco.com New York,NY10019 322 West49thSt. Alcone Company,Inc.(storelocation) YorkNew 386 3225272 www.fxwarehouse.info Email: [email protected] Daytona Beach,FL32114 1575 AviationCtr.Pkwy.,Suite414 FX Warehouse,Inc. Florida [email protected] +61 (02)95579056 www.barnes.com.au Australia Newton NSW2042 53 KingStreet Barnes ProductsPty,Ltd. AUSTRALIA 610 2525800 800 7620744 www.smooth-on.com Easton, PA18042 2000 SaintJohnSt. Smooth-On, Inc. Pennsylvania 818 5577619 Burbank, CA91502 129 SouthSanFemandoBlvd 212 9259250 www.mud.edu New York,NY10012 375 W.Broadway,#202 Los Angelesschoolandstore) Make-Up Designory(NewYorkand 212 2689993 www.manhattanwardrobesupply.com New York,NY10001 245 West29thStreet,8thﬂ makeup supplies;greatbagsandaccessories) Manhattan WardrobeSupply 718 3618373 Long IslandCity,NY11101 5–45 49thAve. warehouse) Alcone Company,Inc.(headquartersand oor (some Kryolan Australia Pty, Ltd. Silithane 147 Little Collins St. 14855 Du Froment St. Melbourne, VIC 3000 Quebec, QC J7N 2J7 Australia Canada [email protected] Email: [email protected] www.kryolan.com.au 514 8241 587 +61 3 96544147 Takara PBG Group (highest-quality JMB FX Studio handmade Japanese brushes) Unit 3 13–15 Ereton Dr. 244 Elson St. Labrador, QLD 4215 Markham, ON L3S 3B9 Canada Australia Email: [email protected] www.jmbfxstudio.com.au www.takaracanada.com +61 (0) 7 5528 8500 905 472 6105 249 [email protected] FRANCE CANADA Paris Berlin Complections International 56 Boulevard Richard Lenoir 85 Saint Nicholas St. 75011 Paris Toronto, ON M4Y IW8 France Canada www.parisberlin.com [email protected] [email protected] www.complectionsmake-up.com +33 (0) 1 433393590 416 968 6739 GERMANY 3D Plastics Bela Kosmetik 12304 Garibaldi St. Birnauerstrasse 12 Maple Ridge, BC V2W 1N2 D-80809 Munchen Canada Germany Email: [email protected] www.bela-kosmetik.de www.3dplastics.net +49 (0) 89 35652223 604 462 7755 604 465 6569 Kryolan GmbH Papierstr.10 R. Hiscott Beauty and Theatrical Supplies 13409 Berlin 435 Yonge St. Germany Toronto, ON M5B 1T3 Email: [email protected] Canada www.kryolan.de 416 977 5247 +49 30 499 8920 250 COSMETICS, TOOLS, LABS, AND EFFECTS HONG KONG +30 2108089070 Greece Athens, 14562 Kiﬁ Kolokotroni 8 Beautyworks GREECE +39 (0)283241084 www.kiehls.com Italy Milano, 20123 Corso DiPortaTicinese,40 Kiehl’s MilanStore ITALY +353 (0)16725776 [email protected] www.nueblueriu.com Ireland Dublin, 2 7 SouthWilliamEriuSt. Nue Blue IRELAND +852 23675332 Email: [email protected] Hong Kong TST Kowloon 100, NathanRd. Unit G19,TungYingBuilding May’s Co./GalaGoldLtd. tssia +52 5551714505 www.kiehls.com Mexico City,DF Col AmpliacionJardinesdelPedregal Periférico Sur#4690Local179PB Centro ComercialPerisur Kiehl’s MexicoCity MEXICO +82 (0)231432732 www.kryolan.co.kr Email: [email protected] Korea Seoul 336-1, Seogyo-Dong 1F, SungdoBldg. Kryolan Korea KOREA +40 213277532 Romania Bucuresti 55-59 CaleaVitan Beauty ShopBucuresti ROMANIA +64 33843093 www.gelita.com New Zealand Christchurch 2 products) 135-145ConnalStreet Gelita NZLtd.(gelatinandrelated NEW ZEALAND SWEDEN Creature Effects Goteborgs Perukmakeri Unit 2, 549 Eskdale Rd. Stora Nygatan 11 Uxbridge Middlesex UB8 2RT 5-411 08 Goteborg United Kingdom Sweden Email: [email protected] + Email: [email protected] 44 (0) 1895 251107 www.perukmakeri.se Mouldlife +46 (0)31 15 7881 Tollgate Workshop Bury Road Mapont & Co. Kentford Odelbergs vag 9B Suffolk 134 40 Gustavsberg CB8, 7PY Sweden United Kingdom Email: [email protected] Email: [email protected] 251 www.mapont.se www.mouldlife.co.uk +46 (0)70 3523109 +44 (0) 1638 750679 MB Sveda (glycerin and sorbitol) Screen Face 20 Powis Terrace TAIWAN Westbourne Park Rd. Kiehl’s Taipei Store Notting Hill, London W11 1JH No. 97 Fu Shin Road United Kingdom Taipei, 105 Email: [email protected] Taiwan www.screenface.com + 88 6227125005 +44 (0)20 7221 8289

UNITED KINGDOM The Makeup Shop www.themakeupshop.co.uk Charles H. Fox Ltd. 22 Tavistock St., Covent Garden California London WC2E 7PY Cimuha, Inc. United Kingdom Erwin H. Kupitz Wig Maker Email: [email protected] www.charlesfox.co.uk Hair Goods by Teresa +44 (0)20 7240 3111 Teresa Valenzuela 7618 Woodman Ave., Unit 1 Panorama City, CA 91402 252 COSMETICS, TOOLS, LABS, AND EFFECTS www.ﬁ Email: Info@ﬁ Fischbach-miller (wig-makingsupplies) Germany WIGS schbach-miller.de schbach-miller.de Email: [email protected](Erwin) Email: [email protected](Gerhard) Germany Cologne Erwin H.Kupitz Gerhard A.Zeiss E&G HairGoods THE CREW

WHO’S WHO Second Assistant Director (Second Makeup Artists: (Deﬁ nition provided by the AD): The Second AD creates the daily IASTE, Local 706) call sheets from the production schedule, in cooperation with the Production Makeup Artists perform the art of makeup, Coordinator. The Second AD also serves which includes: as the “backstage manager,” liaising with • Application of all moustaches, chin pieces, actors and putting cast through Makeup and Wardrobe, which relieves the First AD side burns, beards, false eyebrows and 253 lashes. of these duties. They supervise the Second Second Assistant Director, Third Assistant • Application of any facial or body Director (Third AD), Assistant Director appliances, masks, etc., used in the art of Trainees; the setting of Background (extras) makeup whether made of rubber, plastic, are parts of the Second AD’s duties. or any other material. Second Second Assistant Director (Second • All body makeup. (Except on Network Second AD): The Second Second AD deals Broadcasting productions, i.e. NBC, CBS, with the increased workload of a large or etc.) complicated production. For example, a • May apply wigs or toupees, or cut the hair production with a large number of cast on male performers. may require the division of the aspects of • May also do hairstyling on Legitimate “backstage manager” and the call sheet Theater and Opera productions. production work to two separate people.

Assistant Director (AD): An AD is a person Third Assistant Director (Third AD): The who helps the Director in the making of a Third AD works on-set with the First AD, movie. The duties of an AD include setting and may liaise with the Second AD to move the shooting schedule, tracking daily actors from “base camp” (the area containing progress against the fi lming production the Production, Cast, and Hair and Makeup schedule, logistics, preparing daily call trailers), organize crowd scenes, and sheets, checking the arrival of cast and crew, supervise one or more Production Assistants maintaining order on the set, rehearsing cast, (PAs). and directing extras Key Production Assistant (Key PA): First Assistant Director (First AD): The Key PA may have a number of duties The fi rst AD is directly responsible to the assigned to them by the AD staff. A PA is the Producer and “runs” the fl oor or set. lowest on the crew’s hierarchy in terms of 254 THE CREW and thetermsarenotsynonymous. different dutiesfromaSecondAD, Britain andAustralia,ThirdADshave Second ADtofulfill thesameduties.In a SecondAD,willhireanadditional Australian productions,ratherthanhaving more commoninNorthAmerica.Britishand between SecondandThirdADis nations. Forexample,thedistinction subroles ofAssistantDirectorsdifferamong various dutiesrequiredbytheADs.The salary andauthority.Theyperform 2. “Last looks, please.” Onceeveryoneis on..” “Waiting 1. dialogue: is usuallysomevariantonthefollowing maximum efficiency duringshooting,which developed forthistaskinordertoachieve the years,specialprocedureshavebeen perform, theFirstADinitiatestake.Over and above-the-linepeopleseemreadyto of therelevantheadsdepartment(HODs) responsibilities isto“calltheroll”—whenall Calling theRoll:OneofFirstAD’s TERMS fi “Last looks.”Thisallowsfor last-minute have fi nished, theFirstADcallsout, in place,andrehearsals blocking AD callsout,“WaitingonMakeup.” mascara smearneedsattention,theFirst AD callsout,“WaitingonTalent.”Ifa actors arestillintheirtrailer,theFirst calls out,“WaitingonGaffers.”Ifthe lights needtobeadjusted,theFirstAD is responsibleforanydelays.Ifthe constantly callingoutwhichdepartment nishing touches—whethertotheSet, First ADsare 6. “Marker.”TheFirstADsignals . “Quietontheset.”TheFirstADcalls 3. 5b. “Lock it down.” 5a. “Roll camera.” TheFirstADthen 4. “Roll sound.” TheFirstADwaitsfor Take 4”). scene foreditingpurposes(“Scene 67, board, orslate,andannounces the marks theshotbyclapping theclapper “Marker” or“Slateit.”TheSecond AC Camera (SecondAC),bysaying, the ClapperLoader,orAssistant camera isunmanned. critical orthestuntisdangerousso around thecamerabecausefocusis down,” nottouchedandnomovement the camerabodyneedstobe“locked locked down.Insomefi This canalsocalledwhenthecamerais be totallyquietandmoveoutofframe. the take.Atthispoint,everyonemust “locked down”andwillnotdropduring ensure thatallobjectsonthesetare AD willalsocallout,“Lockitdown”to that thetakeisreadytobefi out, “Quietontheset”toalerteveryone anything else. to HairandMakeup,Lights,or replies, “Rolling”or“Speed.” the timecodeforthreeseconds,and camera, verifi es itsstatusbywatching camera.” Thecameraassistantstartsthe signals thecameradepartmentto“Roll replies, “Rolling”or“Speed.” sound gear,verifi es itsstatus,and sound,” afterwhichtheMixerrollshis Production SoundMixerto“Roll complete quiet,thensignalsthe Sometimes theFirst lming situations lming lmed. 7. “Action.” The Director says, “Action,” crew surport needed. Example: A character although a First AD might perform this that wears a particular shirt that (in different function if the Director prefers it. Only scenes) progresses from clean to dirty to the Director is allowed to say, “Cut.” dirty and torn may require at least three sets of that shirt in order to ensure that The Low-Budget First AD’s Eternal continuity can be properly managed. Dilemma: On low-budget productions, the means are often not enough to realize During production, the Script Supervisor the Director’s vision. It is for the First AD acts as a central point for all production to work between the Director and heads of information on a fi lm shoot, and has several department (HODs) to call the necessary responsibilities. compromises when they need to be made, without jeopardizing the integrity of the Script: The working text of the project. Director’s vision. This process can begin as The Script Supervisor is responsible for 255 early as the scriptwriting phase, with the AD ensuring that everyone involved has the most suggesting such practical compromises as current copy of the script. Once the script combining sets or reducing the number of is fi nalized, changes are made on a different story days. The process may progress through color of paper. The Script Supervisor is to the actual shooting of a scene, at which given any changes, and ensures that they time the AD may call for the Director and are printed on the correct color paper and DP to refi ne the blocking of a scene in such distributed to all necessary parties. This will a way that it can be adequately shot within on many productions lead to a multicolor the time available. This can be the most working script. The actual progression of indirectly creative an AD gets, and may gain colors can vary. One such progression is great understanding of the confl ict between (starting with the original script) white, blue, resources and vision. This can prove a useful pink, yellow, green, goldenrod, buff, salmon, skill to ADs who move on to Produce. cherry, tan, gray, and ivory.

Script Supervisor, or Continuity: A Script Continuity: The Script Supervisor takes Supervisor, or Continuity, is a member of notes on all the details required to re-create a fi lm crew responsible for maintaining the the continuity of a particular scene, location, fi lm’s internal continuity and for marking the or action. The Supervisor is responsible Production unit’s daily progress in shooting for making sure that continuity errors do the fi lm’s screenplay. In preproduction, not happen. For every take, the Script the Script Supervisor creates a number of Supervisor will note the duration of the take reports based on the script, including a (usually with a stopwatch), and meticulously one-line continuity synopsis providing basic log off information about the action of continuity information on each scene. These the take—including position of the main reports are used by all departments in order actor(s), screen direction of their movement, to determine the most advantageous shot important actions performed during the shot, order and quantities of supplies, materials or type of lens used, and additional information 256 THE CREW with verticallinesdrawndownthepages, shoot. Alinedscriptisacopyofthe keeping acopyofitasthelinedscriptfor version oftheshootingscript,andfor responsible forkeepingthemostcurrent Lined Script:TheScriptSupervisoris Metz outsound). takes (afilm takewithoutsoundrecording: of eachsynctake,andthestateallMOS Script Supervisoralsonotesthesoundroll that thesoundandpictureslatesmatch.The film hasaconsistentandmeaningfulslate, Mixer tomakesurethateachtakeofexposed Clapper Loader)andtheProductionSound the SecondAssistantCamera(SecondAC,or Slating: TheScriptSupervisorinteractswith noted. variation madeisknowntotheDirectorand that ifitvariesfromthescreenplay,any track ofdialogueasitisspoken,andensure each. TheScriptSupervisorwillalsokeep Script Supervisorkeepsseparatenoteson case. Whenmultiplecamerasareinuse,the that mayvaryfromcaseto and actorstimes. and outtimes),aswellaccidentreports, filming, scenesshot,andpayroll(calltimes scheduling andthecrew,notingdelaysin daily productionsreportsregarding AD staffalsoisresponsibleforpreparing (tracks withsoundrecordedseparately).The be reshot),andthenumberofwildtracks number ofretakes(whenascenehasto of scenescovered(completelyshot),the to bedone.Alsoincludedarethenumber the totalscript,andamountsremaining the sameinformationforpreviousday, minutes thatwereshotday—aswellas and abreakdownofthepages,scenes, shooting andbreaksstartedstopped; continuity log;alogoftheactualtimesthat company; however,theygenerallyincludea form dependingonthestudioorproduction the Productionteam.Thesereportsvaryin is responsibleforpreparingdailyreports Production Reports:TheScriptSupervisor the script. indicating whichtakescoverpartsof GLOSSARY

ANATOMY spinal cord. The spinal cord is strong and Studies in anatomy are a complex ﬁ eld, but ﬂ exible, allowing movement, supporting the we’ll concentrate on the areas Makeup head, and serving as the attachment for the Artists most likely will use as reference. The ribs and muscles. following terms outline only a few of the examples found in the skeletal, muscular UPPER BODY and circulatory systems. Carpal Bones: Wrist bones.

The Skeletal System: The skeleton is Clavicle: Collarbone. 257 divided into two different areas. The axial Humerus: Upper arm bone. makes up the skull, vertebral column, sternum, and ribs. The appendicular Metacarpals: Hand bones. skeleton is made up of the upper and lower Phalanges: Finger bones. extremities. The skull is divided into cranial bones. These bones form the cranial cavity. Radius: One of two lower arm bones. The The cranial cavity houses the brain and radius is narrow at the end that connects facial bones, which in turn form the face. with the humerus, and wider at the joints it forms with the wrist bones. THE SKULL Ribs: Curved bones connected to the Frontal Bone: Bone located at the forehead thoracic vertebrae. that helps deﬁ ne the orbits of the eye. Scapula: Helps to form the shoulder joint Mandible: Bone that forms the lower with the humerus. jawbone. Sternum: Breastbone. Maxilla: The upper jawbone. Ulna: One of two lower arm bones opposite Nasal Bones: There are two nasal bones. in shape to the radius. The vomer bone separates the nasal cavities.

Occipital Bone: Large bone that makes up LOWER BODY the base of the cranium. Femur: Thighbone; it is the strongest bone Zygomatic Arch: Bone that defi nes the in the body. cheekbone. Fibula: One of two bones that form the The Spinal Column: The spinal column is lower leg bone. The fi bula is smaller of the made up of 26 bones. The bones protect the two. 258 GLOSSARY Joints: purses thelips. Orbicularis Oris:Circlesthemouthand thrusts lowerlipupandoutward. Mentalis: Caninus: lips. mouth backward,fl attens andtightens Buccinator: MOUTH MUSCLES teeth. muscle toraisethejawandclench Temporalis Muscle:Helpsthemasseter clenches theteeth. Masseter Muscle:Raisesthejawand JAW MUSCLES FACIAL MUSCLES muscles inthebody. function. Thereareover700known described bysize,shape,origin,and The MuscularSystem:Musclesare two. lower legbone.Thetibiaisthelargerof Tibia: Oneoftwobonesthatformthe Tarsals: Phalanges: axial skeleton. Pelvic Bone:Attachesthelowerbodyto Patella: Metatarsals: keep theskeletontogether. together toeitheraidmovementand/or When twoormorebonescome Kneecap Anklebones. Raises thecornerofmouth. Raises andtightensthechin, Toes. Draws thecornersof Foot bones. wrinkling theskinonnose. Procerus: above andbelowtheeyes. compresses theopeningofeyefrom Orbicularis Oculi:Closestheeyelidsand Vertical wrinklesform. compressing skinbetweentheeyebrows. Corrugator: EYE MUSCLES organs; veinsreturntheblood totheheart). blood fromtheheartto tissuesand lungs andsendsittothebody; arteriescarry heart receivesoxygenatedblood fromthe lungs) andthesystemic(the leftsideofthe blood fromthebodyandpumpsitto side oftheheartreceivesdeoxygenated different systems:thepulmonary(theright circulatory systemismadeupoftwo Circulatory SystemandVeins:The AND ABDOMEN MUSCLES OFTHEBACK upward. draw thelowerlipdownwardand Platysma: Musclesontheneckthat the eyebrowsupward. the front,wrinklesforehead,andpulls Frontalis FrontalPart:Drawsthescalpto FACE MUSCLES mouth upwardandoutward. Zygomaticus MajorandMinor:Raisesthe downward. Triangularis: sideward andoutward. Risorius: Pulls thecornerofmouth Tightens theinnereyeby Assists theorbicularisin Pulls thecornerofmouth ARTERIES Splenic Vein: Vein leaving the spleen.

Aorta: Largest artery in the body. Subclavian: Empties blood from the Brachiocephalic Trunk, Right shoulder area. Carotid, and Right Subclavian Arteries: Superior Mesenteric: Blood returns to Provide blood to the neck, head, and upper circulation by way of the small intestine. limbs. Superior Vena Cava: Receives blood from the Celiac Trunk, Superior Mesenteric upper body by way of the internal jugular, Artery, and Inferior Mesenteric Artery: subclavian, and brachiocephalic veins. Supply blood to the abdominal internal organs. ADDITIONAL TERMS Coronary Arteries: Supply blood to the AD: Assistant Director heart. Adding color: Mixing pigments to a 259 Left and Right Common Iliac Arteries: product. Abdominal aorta divides into left and right Additive Color: adding primary Colors to common Iliac arteries. come to white light. Left Carotid, Left Subclavian Arteries: Additive Color Mixing: Color mixing Provide blood to the left side of the head, with lights. neck, and upper limbs. Airbrush: A small air operated tool that Renal, Suprarenal, and Gonadal Arteries: sprays various media. Provide blood to internal organs at the back of the abdominal wall. Air Regulator: To adjust the air pressure.

THE VEINS Alginates: Seaweed based products used to take an impression of an object or Brachiocephalic: One of two veins that person. form the superior vena cava. Analogous: Colors next to each other on Hepatic Portal Vein: Vein that leads from the color wheel. intestinal veins to the liver. Background: Background artists (actors) Inferior Vena Cava: Receives blood from or extras working in a scene. the pelvis, abdomen, and lower limbs. Black: Absence of all colors. Internal Jugular: Receives blood from the head and neck area, including the brain. Blank Out: To start with a blank canvas. Portal System: A set of veins that deplete blood from the intestines and the Blending: applying Makeup using tools to supporting organs. achieve a smooth seamless ﬁ nish. Bloom: The strength or rigidity of the Correction Filters: To Balance a given brand of Gelatin. light source.

Bondo: Cobosil that is mixed with Pros- Crew Call: Time the crew is called into Aide to form a thick paste. work.

Brightness: Percentage of Transmission of Cure: Chemical reaction between two the full spectrum of energy. ingredients when done Dark and Halftones: Halftones divided into light Bull Pen: Working the Line with many and dark. other Makeup artists painting for the crowds with little time to do it. De-mold: Taking the product out of the mold. Cast: Actors appearing in the scenes. Digital Cinematography: When ﬁ lm is Casting: A product that is used in a mold. being substituted for Digital.

Center of Gravity: The point of the body Digital Motion Pictures: Images that are that dictates where the weight is captured on digital Formats. In this case distributed. Motion Pictures

CFM: Measurement of airﬂ ow. Digital Photography: Images that are Characters: Names of the characters the captured with electronic devices that actors will be playing. record the images.

Chavant NSP Clay: Sculpting clay. Digital Television: Pictures and sound are received by digital signals. Chiaroscuro: An Italian term meaning light Dark. The term Originated as a type D/N: Means Day or Night on a call sheet. of Renaissance drawing on colored paper. Dominate Wavelength: Apparent Color of the Light Chief Makeup Artist: What a Department head is called in Europe. Dot Method: placing dots instead of straight lines in Makeup application. For Closed set: Means there are no visters. example to create a stronger lash line. Complementary: Any colors 180 degrees DP: Director of Photography apart on a 360 degree wheel. Dual Tone: A pigment that changes hue Complementary Colors for Light: from mass tone to top tone. Complementary Colors are also called secondary Colors. Extra: Back ground actor or Back ground artist. Contour: Darker Colors that are applied to any area the Makeup Artist wants to set Foundation Primers: Even out the texture back. of the skin. Gaffer: Lighting Designer Monochromatic: Any color mixed with white. Gel Filters: Filters are used in front of a light source to change what the light is Oil Filter: Removing oil from air. putting out. Opaque: Dense like a rock. Gelatin: A colorless protein formed by On The Clock: Ofﬁ cial time of payment. boiling the skin, bones, and connective tissue of animals used by Makeup artists Primary Color: Three Primary colors that for a variety of reasons such as Casting in can be mixed together to make all other a mold. colors.

Green Marble: A Makeup sealer. Pros-Aide: A prosthetic adhesive.

Half tones: All of the Value variations PSI: Measurement of air pressure, pounds per inch. 261 High-Deﬁ nition Television or HDTV: Television broadcast using higher Purity: The Purity of color is similar to resolution formats. chroma.

Highlight: Lighter Colors that are applied Rays: Ultra Violet Rays of UV. to any area the Makeup artist wants to RCW Color Wheel: Don Jusko Color stand out. wheel is one in which every color has an Holding and Catering: Where the extras opposite color to be mixing neutral darks. are being held and where the food is. Reﬂ ected Light: light source that bounces Hue: Any Color off the surrounding environment.

Imaginary axis: An imaginary axis used by Releases: Products that help to release a artists to determine where the weight of product from a mold. the body changes. Removers: Products that come in many Licensed Aestheticians: Someone learned different formulas used to remove in the study of Skin Care. adhesives, eye Makeup, or a variety of Makeup applications. Makeup Department Head: In charge of designing and running the SC: Scene numbers in the script. department. Secondary Colors: Colors made by mixing Mass Tone: Color right out of the tube or together two primary colors. pure powder pigment. Secondary Colors in Light: Combination Mattifying Products: Products that are of two primary Colors. made to take down shine. Set Call: The time stand in’s and Moisture Filter: Removing water from air. background actors report to the set. 262 GLOSSARY medium. never betransparentbyaddingaclear Translucent: Milkistranslucent.can Top Tone:addingwhitetoacolor. Tints: Addingwhitetoanyhue. thin adhesiveproducts. Thinners: Thinnersareproductsmadeto Textures: thesurfacepropertiesofacolor. being shiftedfromonelegtoanother. Swinging: causedbythecenterofgravity circulation bywayofthesmallintestine. Superior Mesenteric:Bloodreturnsto for differentstipplingeffects. Stipple sponges:Texturedspongesused brush, sponge,ortexturedsponge. motion whileapplyingmakeupwitha Stippling: Touseanupanddownward skin tone. Spot Paint:Techniquetobalanceoutthe SPF: SunProtectionFactor. until thelightcompletelygoesaway. the lightsource,halftonesbecomedarker Shadow: Whenaformturnsawayfrom ﬁ director atthecompletionofdays Wrap: TermcalledbytheAssistant Makeup Kit. products willbeusedfromtheirown by Makeupartiststodescribewhat Working outofyourKit:termused light. White: Thepresenceofallcolorsinthe object Value: MeansTonalValueforan angles. when theheadismovedindifferent deﬁ nesproportionsofthefacialfeatures Vertical axes:Thecenterlinethatcorrectly of theskinsuchasburning. UVB Rays:Causesdamagetothesurface tissue. the skinanddamagesconnective UVA Rays:Penetratesthesurfaceof Undertone: Addingclearmedia. degrees apartonthewheel. Triadic: Anythreecolorsthatare120 Transparent: Dyethatareclear. lming. PROFESSIONAL LIBRARY

RECOMMENDED BOOKS AND Milady’s Skin Care and Cosmetics Ingredients TRADE JOURNALS Dictionary, by Natalia Michalun and M. Books Varinia Michalun Art of Makeup, The, by Kevyn Aucoin Milady’s Standard: Fundamentals for Atlas of Clinical Dermatology, by Anthony du Estheticians, by Joel Gerson, Shelley Lotz Vivier and Janet D’Angelo Atlas of Clinical Gross Anatomy, by Kenneth P. Skin Care Beyond the Basics, by Mark Lees Moses, John C. Banks, Pedro B. Nava, and Vintage Face, by Angela Bjork and Daniela 263 Darrell Peterson Turudich Atlas of Pathophysiology, by Lippincott Magazines Williams and Wilkins Make-Up Artist Magazine, www.makeupmag. Beauty of Color, The, by Iman com Bloom Book, by Li Edelkoort and Lisa Make-Up Artist International, www. White makeupinternational.eu Body Painting: Masterpieces, by Joanne Gair and Heidi Klum Web Sites Brown Skin, by Susan C. Taylor www.airbrushmakeup.com Clinical Dermatology, by Thomas P. Habif www.anatomical.com Color Atlas of Forensic Pathology, by Jay Dix www.badgerairbrush.com Costuming for Film: The Art and The Craft, by www.beautyhabit.com Holly Cole and Kristin Burke www.benefi tcosmetics.com Crew Freelancing 101: A Guide to Building a www.bennye.com Career in Film and TV Production, by Gena www.blincinc.com (lash primer) Seif www.bluescreen.com Cyclopedia Anatomicae, by György Fehrér and www.bobbibrowncosmetics.com András Szunyoghy www.Brushupwithbarbara.com Digital Cinematography, by Paul Wheeler www.burmanfoam.com Don’t Go To The Cosmetics Counter Without www.cinemasecrets.com Me, 6th ed. by Paula Begoun www.clinique.com Face Forward, by Kevyn Aucoin www.cosmeticmall.com Fine Beauty, by Sam Fine www.creativeartistryfx.com Forensic Pathology, by David J. Williams, www.dangheno.net Anthony J. Ansford, David S. Priday, and www.Danielamakeup.com Alex S. Forrest www.dhccare.com 264 PROFESSIONAL LIBRARY www.makeupmania.com www.makeupforever.com www.makeupcreations.com (brushes) www.makeupartistschoice.com (brushes) www.maccosmetics.com www.loraccosmetics.com www.lauramercier.com www.lancome-usa.com www.kiehls.com www.kettcosmetics.com www.kd151.com (bloodproducts,effects) www.kanebo.com www.joeblasco.com www.indeutsch.com (brushes) www.immune.com (chemicalreaction www.imdb.com (professionalfilm sitefor www.imancosmetics.com www.hollynorth.com www.getspfx.com (adhesiveinformation) www.gerdaspillmann.com www.fxwarehouse.com (products) www.folica.com (brushes,tools,etc.) www.fl www.eeyelash.com www.eefx.com www.dow.com (productinformation) www.dickblick.com information) production information,résumés) axart.com www.worldwidebeautystore.com www.vwr.com (internationalchemical www.temptu.com www.solomakeup.com (brushes) www.smooth-on.com www.shopofhorrors.com (effects) www.sephora.com www.sculpt.com www.screenface.com www.screamteam.com (masks) www.ronjo.com (products) www.rickysnyc.com (beautysupply, www.realcolorwheel.com www.psdaimaandsons.com (brushes) www.ppi.cc www.paulwheelerbsc.com (HDcameras, www.pauladorf.com www.paintandpowderstore.com www.paascheairbrush.com www.oshunsupply.com (oils,chemicals, www.occmakeup.com www.monstermakers.com www.mehron.com www.marshallelectronics.com www.mallatts.com (products) supplies) NYC) crews, technicalinformation) clays, salts,botanicals,etc.) THE PROS

DARLA ALBRIGHT RICHARD DEAN Emmy Award winner and Makeup Artist Richard Dean has painted some of the most Darla Albright has worked on numerous TV, unforgettable faces in the world—including ﬁ lm, and music industry events. Her credits Nicole Kidman, Uma Thurman, Madonna, include the Academy and Emmy Awards, Eva Mendes, Amber Valletta, Demi Moore, department heading, and working on the hit Glenn Close, Diane Lane, Tom Cruise, TV series Scrubs, Justice, That ’70s Show, Michael Douglas, and Bruce Willis. Richard General Hospital, Ghost Whisperer, and has collaborated with Julia Roberts on 16

The Riches. Her fi lm work includes The movies—from Sleeping With the Enemy and 265 Good Girl, starring Jake Gyllenhaal; Dr. My Best Friend’s Wedding through Erin Dolittle 2; and working with Tyra Banks Brockovich, Closer, and, most recently, Charlie on Coyote Ugly. Darla has also toured the Wilson’s War. Richard’s fi rst movie world with her personal client Neil Diamond experience was on the tiny independent fi lm for all of his stage, TV, and personal Union City, starring Deborah Harry. appearances. Currently, Darla is also Currently, he is shooting Baby Mama with working as a collaborator for Air Craft with Tina Fey in New York. With a master’s Kris Evans. degree from the University of Michigan focused on theatrical design, Richard began CRISTINA PATTERSON CERET doing makeup in the fashion and print arena Born in Madrid, Spain, Cristina Patterson before moving on to television, then 50- Ceret came to Los Angeles at the age of 1. some features—among them Desperately Cristina was introduced to the fi lm industry Seeking Susan, The Cotton Club, Something by her mother, Raffaelle Butler, a Hollywood Wild, Fatal Attraction, Mona Lisa Smile, and Makeup Artist. Following her mother’s Hitch. example, Cristina dived into makeup for motion pictures. In 1995, she joined KENNETH DIAZ Professional Vision Care Associates as a When Kenny Diaz was young, his father Contact Lens Technician. In 2002, Cristina would go all out for Halloween. He would was promoted to Special Effects Coordinator. make Kenny and his younger brothers very She is now designing and painting contact elaborate costumes. That paved the way for lenses for fi lm and television, and prosthetic Kenny to make his own costumes for kids in lenses for patients. Cristina is an the neighborhood, even winning an award accomplished, self-taught painter in fi ne arts. for his efforts. Who knew that would lead to She is always working to fi nd new ways to an exciting career working extensively as one paint contact lenses. of the top Makeup Artists in the motion 266 THE PROS to hissuccesstoday. skills andconfidence thathavecontributed Diaz becameaninstructor,developingthe Melanie Griffith. Afterthefi Roar, starringTippiHedrenandherdaughter for studentandindependentfilms such as industry. Hecontinuedhiscareerworking Makeup Artistfortheentertainment course, Kennyknewhewouldbecomea Salon Makeup!Bytheendofone-year that couldhelphim.Thisincludedclassesin makeup school,finding nootheravenues in theLosAngelesarea.Heenrolleda about pyrotechnicsclassesatschoolslocated television specialonthesubject.Heinquired interest inpyrotechnicsafterwatchinga Industry Standard.Kennyhadaspecial K.D. 151BloodProducts,whichisan time EmmyAwardwinner.HeisFounderof Academy Awardnominationsandisatwo- picture industrytoday?Kennyhastwo international artist’sschool. By thistime,she Daniela movedtoParisand attended an and acquireadegree.Atthe ageof20, Vienna tobecomelearnedin Hairdressing from EconomyHighSchool, shewentto and thecreationofillusion.Aftergraduating been fascinatedbyphotography,fashion, independent movies.Danielahasalways with Photographers,Stylists,and before branchingoutonherownprojects Japan. Shestartedoutassistingvariousartists Sweden, Holland,England,Austria,and in placessuchasSwitzerland,Germany, for internationalmagazinesandcommercials Makeup Artists.ShelivesinParis,andworks Daniela Eschbacherisoneoftoday’snewest DANIELA ESCHBACHER lm completed, Darla Albright. Founder ofAirCraftCosmeticswithpartner runway showsandfashionshoots.Evansis Olympic broadcastteamorforcouture used totravelingworldwideintheNBC Broadway inThePhantomoftheOpera. Treasure. Shehasalsousedherskillson movies asX-Men:TheLastStandandNational production films, creatingcharactersin such everything fromSaturdayNightLivetolarge entertainment. Krishasworkedon unique makeupdesignsintheworldof For over20years,KrisEvanshascreated KRIS EVANS City. ProfessorEmeritusatthe Lyme Dan Ghenoteachesandlives inNewYork DAN GHENO Angeles areawithherfamily. “primping prettyfaces.”KimlivesintheLos later shestillloves“slingingdirt”and “old timers”inHollywood.Twentyyears makeup byworkingforsomeofthegreat fortunate tocontinuehereducationin Blasco SchoolinLosAngeles.Kimwas sent KimofftobasictrainingattheJoe a faceisjustanotherformofcanvas.”This try makeupinstead,reasoningthat“Painting successful film producer,suggestedthat Kim illustrator butherstepfather,EdLevy,a business. Shewantedtobeafashion Kim Felix-Burkegrewupinthefi KIM FELIX-BURKE as Make-UpArtistMagazine. work hasbeenfeaturedbysuchpublications Makeup ArtistsandHairstylists.Daniela’s had alreadystartedtoworkwithestablished lm Kris is Academy College of Fine Arts in Old Lyme, Geller Associates, and Tom Watson Connecticut, he lectures and teaches at The Associates) at opera companies across the Art Student League and the National nation, including the Greater Miami Opera, Academy School in New York City. Dan has Opera Co. of Philadelphia, and Opera been featured in numerous national and Theatre of St. Louis, among many others. He international publications, including also began building his own wig stock and American Artist, Drawing, and Drawing client list, which included Chicago Opera Highlights. Dan Gheno studied at Santa Theatre. In 1994, a staff position in the Barbara Art Institute, Art Students League, Makeup Department at the Metropolitan and National Academy of Design. His work Opera was offered. He continues to do wig is featured in exhibits nationally and in the rentals and wig building, most notably for collections of several museums. Studio EIS, a company in Brooklyn which fabricates realistic human fi gures to museums across the U.S., including the 267 STEVEN HORAK recent, extensive exhibit illustrating the life Steven Horak graduated with degrees in of George Washington at Mount Vernon, Vocal Performance from Washington State Virginia. He also takes one summer opera University and the Cincinnati College- job in the NYC area each year, where he Conservatory of Music, intending a career as hones his skills at cranking out full makeups, an opera singer, but always having an including wig application, in 10 to 15 interest in and an affi nity for the fi eld of minutes, recalling his early days “on the line” theatrical makeup and wigs. Steven began at SFO. singing for Detroit’s Michigan Opera Theatre in the old-man roles often assigned to young bass-baritones, “doing my own makeup in all DON JUSKO cases, as no real makeup department Don Jusko was an artist before art college. existed.” Observing that he appeared to have After college in 1962, during the Cuban some talent in this area, the company offered Crisis, Don was a part of Naval Photo to pay a large portion of his tuition to the Squadron VFP-62, based in Jacksonville, San Francisco Opera Wig and Makeup Florida. After four years in the navy, he Training Program, on the condition that he worked as the Art Director for an advertising return to MOT and establish a department agency in Jacksonville. He then opened his for them. After receiving his certifi cate from own agency in San Francisco. For the past 30 the program, which was led by SFO’s years, he has been painting Maui scenes on Wigmaster, Richard Stead, he fulfi lled my location, capturing the island’s history. Don’s commitment to MOT and returned to Detroit work continues to be admired by all. While to accept the staff position, which he held for painting on location with his own choice of 12 seasons. During the off-season, he transparent primary pigments, the Real Color represented several wig and makeup Wheel was born. By 1996, a printed copy companies (Theatrical Hairgoods Co., Bruce was being sold on the internet. Today, his 268 THE PROS ERWIN H.KUPITZ together andnotusingblackpigment. colors bymixingrealcoloroppositions ability topaintnatural-lookingdarkshadow wheel. Thiscolorwheelhasgivenartiststhe with freeprintabledownloadsofhiscolor color sitegarners1.7millionhitsamonth, the RoyalOperainBelgium totheSalzburg Opera andTheatreinMunich, Germany,and productions rangingfromthe BavarianState Department Headinperforming-arts Wigmaster, ViceDepartment Head,and Makeup Artist,Principal and from1982to1992heldthepositionsof Erwin embarkedonhiscareerinEurope, IATSE LocalMakeupArtistsofHollywood. Chamber ofHandcrafts,Germany,andthe affiliations includemembershipinthe Hair Cuttingtechniques.Erwin’sprofessional Effects Makeup,HairColoring,andModern institutions inthefollowingfi attending workshopsandseminarsatvarious has expandedhisprofessionaltrainingby apprenticeships inGermany.Inaddition,he his educationandcorresponding New YorkandJersey.Erwincompleted company J.A.Alternatives,Inc.,locatedin Replacement, EHK,forthehair-replacement three years.HeisalsotheDesignerofHair which hasbeeninoperationforthepast President andFounderofCimuha,Inc., Goods forthepast12years.Erwinis wig-making businessCustomMadeHair management. Hehasbeentheownerof opera, theater,film, media,and than 25yearsofexperienceinthefi Wig Maker,andMakeupArtist,withmore Erwin KupitzisaprofessionalHairstylist, elds: Special elds of Aliens &Artifacts.BorninPeoria,Illinois, including co-writingthebook StarTrek written numerousarticleson makeup, nominated, MakeupArtistBradley Lookhas (“Threshold” episode)andeight times Emmy-winning forStarTrek:Voyager BRADLEY M.LOOK Academy Award–winningfi 59 majormotionpictures(including career thathasencompassedthefollowing: 1992 tothepresent,Erwinhashadaprolifi professional workintheUnitedStates Festival inAustria.Fromtheonsetofhis own careers. Hairstylists canrespectandaspiretointheir experience thatfutureMakeupArtistsand technical expertiseandprofessional the performingartswithadegreeof his flexibility totraversethediversemediaof on. Erwin’sbodyofworkrefl and on goes list the Woods.and James Jane Seymour,HughJackman,AndyGarcia, Carroll, EdwardNorton,PlácidoDomingo, Patrick Stewart,GeneHackman,Diahann Anthony Quinn,DianeLane,MichaelCaine, Beatty, SirAnthonyHopkins,AngelinaJolie, Jack Nicholson,ShirleyMacLaine,Warren screen legends,andcontemporariessuchas with includeAcademyAwardwinners, accomplished actorsthatErwinhasworked Vampire Slayer,FOXTV).Thelistof Makeup foraTelevisionSeries(BuffyThe in 1998–99forOutstandingAchievement Mini Series(InSearchofDr.Seuss,TNT),and Outstanding AchievementinHairstylesfora received Emmynominationsin1994–95for shows, andeightstageproductions.Erwin Gump, TitanicandDreamgirls),22television lms ects Forrest c Brad now lives in Southern California, where accolades and recognition as one of the he works in the entertainment industry. industry’s top masters of makeup illusion. Besides teaching The Art of Film and Born in Durant, Oklahoma in 1956, Matthew Television Makeup at national and was one of fi ve children. As a boy, he was international universities, Brad has worked fascinated by makeup. Matthew credits the on productions such as Pirates of the fi lm 7 Faces of Dr. Lao as a factor in him Caribbean: At World’s End, The Santa Claus 3: deciding to become a Makeup The Escape Clause, Boston Legal, Poseidon, Star Effects Artist. In 1978, Matthew applied to Trek: Deep Space Nine, Star Trek: Voyager, and was accepted into Joe Blasco’s Makeup and Star Trek—just to name a few. Center, the premier academy responsible for training many of the fi lm and television GIL MOSKO industries’ elite Makeup Artists. Matthew’s impressive list of fi lm, television, and theater Gil Mosko, President of GM Foam, Inc., credits include the box offi ce hits The 269 created GM Foam in 1987 to meet the needs Perfect Storm, Bedazzled, The Polar Express, of the Makeup Artist for a more-user-friendly The Omen, X-Men, The X Files, CSI: Miami, foam latex. Gil Mosko has numerous awards, Six Feet Under, The Fast and the Furious, and including 10 Emmy nominations, and fi ve the Broadway hit Wicked—just to name a Emmy Awards for Outstanding Achievement few. Matthew, Founder of W.M. Creations, in Makeup for a Series. He was also Director Inc. along with John E. Jackson, has of the Star Trek Makeup Lab. Mosko has developed products for the Makeup Artist developed foam latex, which has become the that no one should be without. Matthew standard of the industry. He started his wanted to give the working Makeup Artist a career with a major in Environmental chance to create and buy products he would Biology and a minor in Chemistry at the use himself. Matthew continues to educate University of Colorado. From there, he and infl uence new Makeup Artists today worked at Mattel Toymakers for two years as worldwide. a designer in the Preliminary Design Department. For the next 15 years, Gil owned and operated Gil Mosko Pottery and KENNY MYERS worked as Director at R&D Nearly Me Corp., Nominated twice for Emmy Awards and holding patents for revolutionary designs for Department Head on the Academy Award– prostheses for mastectomy patients. nominated picture Star Trek VI: The Undiscovered Country, Kenny Myers has MATTHEW MUNGLE mastered many projects and has had many Academy Award and Emmy Award winner successes over the years. Kenny graduated Matthew W. Mungle is regarded as one of from William Paterson College in 1976 with Hollywood’s premier Makeup Special Effects a master’s degree in Communication Arts- Artists. With over 100 fi lm and television Theatrical Design. In 1976, Kenny moved to projects to his credit, Matthew has earned Los Angeles and began to work as an 270 THE PROS of MotionPictureArtsandSciences. asked tobecomeamemberoftheAcademy product line.Kennywastrulyhonoredwhen Inc., andiscontinuallyexpandingthe industry manufacturerPremiereProducts, Illustrator. Shortlyafter,Kennyteamedwith pigmented flesh toneinkscalledSkin Inc., createdaneffectsmakeuplineofhighly conjunction withhiscompanyCineMakeup, Who ShaggedMe.In1999,Kenny,in the LivingDead,andAustinPowers:TheSpy Trek, BacktotheFuturePartIII,TheReturnof Collateral, TheLastSamurai,HomeAlone,Star Men: TheLastStand,WaroftheWorlds, many pictures,including:ThePrestige,X- 20 years,Kennyhasbeeninvolvedwith apprentice toChrisWalas.Duringthepast Over thepast20yearsshehas workedon her workasaHollywoodMakeup Artist. makeup andtechniqueshave occuredduring images. The15-yearproving groundofthe dot ofcoloratatimeisappliedtodepict futuristic versionofpointillismwhereone The newartofmicropointillismmakeupisa and vividlyexpresstheMakeupArtistvision. traditional application,andmorefl developed gofarbeyondtheboundariesof artistic makeuptechniquesshehas “the newartofairbrushmakeup.”The significance, duringthattime,shepioneered application system.Ofevenmore glamour makeupand directed thedevelopmentofasprayable Makeup Systems,Inc.,hasguidedand President andFounderofDinairAirbrush Over thepast15years,DinaOusley, DINA OUSLEY uently Dick Smith. Cannom, SteveJohnson,RobBottin,and to suchindividualsasRickBaker,Greg Timberlake. Tinsleyaccreditshisinfl Pitt, GeorgeClooney,VinDiesel,andJustin Hollywood’s biggeststars,includingBrad prosthetic transferseffectsforsomeof into aleadingprovideroftattoosand Today, TinsleyTransfers,Inc.hasemerged look forJesusinThePassionoftheChrist. “prosthetic transfers”whencreatingthe Tinsley Transfers.Christiendeveloped ultimately launchedhissignatureproduct, to hisnextfi Grinch StoleChristmas.Tinsleycontinuedon prosthetics toClintHowardinHowthe films. Tinsley’sfi rst unionjobwasapplying overseeing andsupervisingeffectsforseveral developed arangeofmaterialsandwassoon Steve Johnson’sFXShop,Christien his first jobasanEffectsArtist.Workingat Tinsley movedtoLosAngelesafterreceiving Auburn, Washington.Attheageof21, nominated MakeupArtistwhogrewupin Christien TinsleyisanAcademyAward– CHRISTIEN TINSLEY company. Heisagraduateof Carnegie theatrical lightingandspecial-effects GAM Products,Inc.,theLos Angeles–based Joseph N.TawilisFounder and Presidentof JOSEPH N.TAWIL television actress. followed herearliercareerasafi still-photo shoots.HerMakeupArtistcareer regional commercials,musicvideos,andstar feature films, TVspecials,nationaland lm, Pearl Harbor,which lm and uences Mellon University, a fellow of the United PAUL WHEELER States Institute of Theater Technology, and Renowned Cinematographer, Director of an associate member of the American Society Photography, and writer are only just the of Cinematographers. Tawil has authored a start of a list of titles that outline Paul dozen articles on lighting that have been Wheeler’s career. He was twice nominated by published in industry trade journals. He BAFTA for a Best Cinematography Award, often guest lectures at universities on the and has twice been the winner of the Indie subject of color, and is a frequent speaker for Award for Best Digital Cinematography. Paul the International Photographers Guild about is the author of several popular books on color measurement. Tawil holds more than cinematography. He also lectures at a dozen patents in the lighting fi eld, and establishments such as The London has created many special-effects and International Film School and the Royal projection devices (including the patented College of the Arts. He is a member of the Film/FX and SX4 fi lm loop) that have Guild of British Camera Technicians, a 271 become standard production tools for the Fellow of the British Kinematograph, Sound entertainment industry. They include the and Television Society, and a Member of the fi rst deep-dyed polyester color fi lter, the fi rst British Society of Cinematographers. off-the-shelf stainless-steel pattern, and Black Wrap, the original, for which he received an Academy of Television Arts & Sciences Award. PATTY YORK Patty York wanted to be involved in movie making since she was a little girl. Being a big NANCY TOZIER dreamer, movies activated her imagination; Nancy-Tozier went to Salem State University, she was a natural at creatively expressing majoring in Psychology. She attended herself. Patty worked as a commercial artist cosmetology school in Massachusetts. In the in her early years, moving to New York City 1980s, she owned her own spa and managed working with fashion designers, all the while another spa with 22 styling chairs, heading stimulating her lifelong obsession with the the Makeup and Skin Care Department. beauty industry. A need to generate more Nancy graduated from the Catherine Hinds income in New York City sent Patty back to Institute in Woburn, Massachusetts, in 1989, school to earn a degree in business. Patty valedictorian and winner of the Marietta became a “suit.” The stagnation was killing Hinds Award. She has studied the art of skin her spirit and she craved and missed being tones, color theory, and skin care with creative; she woke up one day to realize this mentors such as Glen Lockhart of Bion was not her! Time to put her brush strokes Research Skin Care, James Vincent, and to a living breathing canvas. She apprenticed Nancy Feliciano. Tozier is a respected with several professional makeup artists in educator and innovator. New York City, learning everything she 272 THE PROS instincts asanartist,shelearnedfi training inthefilm industrytofi ne tuneher to pursueherdream.Withadditional Makeup ArtistbeforemovingtoHollywood could fromthem.SheworkedasaPrint lm stars! Head andPersonalMakeupArtisttothe successful careerasaMakeupDepartment still livesinLosAngeles,andenjoysa techniques andsetprotocol.Today,Patty UNIONS

International Alliance of Theatrical LOCAL 706: Makeup Artists and Hair and Stage Employees (IATSE): Theatrical Stylists Stage Employees, Moving Picture 828 N. Hollywood Way Technicians, Artists, and Allied Crafts of the Burbank, CA 91505 United States, its Territories, and Canada, Tel: 818-295-3933 AFL-CIO. Email: [email protected] Web site: www.local706.org The IATSE is the labor union representing technicians, artisans and LOCAL 798: Make-Up Artists and Hair craftspeople in the entertainment Stylists 273 industry, including live theater, motion 152 West 24th St. picture and television production, and trade New York, New York 10011 shows. Tel: 212-627-0660 This page intentionally left blank INDEX

Abrasion wound, 207 Angled brush, 241 AD, see Assistant director Animal bites, 207 Additive color mixing, 50 Anthrax, 26 Adhesives Antishine, products, 243 facial hair, 151–152 Arteries, 30, 255 products, 243 Artist color wheel, 69 prosthetic makeup, 214–215 Assistant director (AD), defi nition and functions, Aging 251 Green Marble S e L r technique, 121–123 overview, 120 Background removal, 125 checking, 232 repairs, 125 terminology, 231–232 275 stipple products, 243–244 working with, 232 stretch and stipple, 121, 125 Badger bristle, 241 stretching areas, 123–124 Balanced eyes, 12 Airbrush Bald caps, 130–131 all-in-one systems, 161 Beard, see Facial hair beauty makeup, 165–167 Beauty makeup blusher, 170 airbrush lesson, 165–167 body makeup example of shoot experience applying, 175–176 design, 238 cleaning of airbrush, 176 kit, 238 preparation, 173–175 luxury hotel shoot, 239 removal, 176 Madonna theme shoot, 239–240 supplies, 174 preparation, 237–238 testing, 174 prepping of model, 238 touch-ups, 176 tips, 240 characteristics, 156 overview, 95 compressors, 159–160 tips, 95–96 defi nition, 156 Black eyebrows, 170 light, 49 eyeshadow, 168–169 mixing, 44, 233 eyeliner, 170 Black-and-white photography, see Photography feeds, 157 Blending, foundation, 78–79 foundation, 168 Blood lips, 170 continuity considerations, 210–211 makeup products, 162–164 lighting considerations, 208 safety, 161–162, 176–177 mouth blood products, 209–210 stencils physiology, 206 applications, 167–168 simulation, 205–207 cleaning, 171–173 viscosity, 208–209 tips, 164–165 Blue, mixing, 38, 43, 233 triggers, 156 Bluescreen, 62 types, 157–158 Blush Albright, Darla, 165, 263 airbrushing, 170 Alginates, defi nition, 185 brush, 241 Allergy, 25 types and functions, 80 Analogous colors, defi nition, 39 Boar bristle, 241 276 INDEX Color correctionfi Color compensatingfi Chin, agingmakeup,124 Children, makeuptips,101 Chicken pox,29 Cheek, agingmakeup,124 Chavant NSPclay,defi Ceret, ChristinaPatterson,263 Cathode raytubemonitor,63 Casting, defi Canned spraywater,88–89 Caninus muscle,29 Camera fi lters, types,53–54 Calling theroll,252–253 Call sheet,interpretation,219–223 Cake makeup,typesandfunctions,75 Burn, types,207–208 Buccinator muscle,29 Brushes Brow brush,241 Brow, Bristles, types,241 Bring itbacktolife,91–92 Brightness, 49 Box rental,seeKitfee Body Body makeup Concealers Compound fracture,207 Complementary colors Color wheels,seeArtistcolorwheel;RealWheel types, 241–243 cleaners, 243 bristle types,241 torso triangle,6–7 proportions, 5–6 drawing inmotion center ofgravity,7–8 overview, 101–102 airbrushing brushes, 241–242 types anduse,40–42,44 defi positive andnegativespace,9 line ofaction,9–10 angles, 8 touch-ups, 176 testing, 174 supplies, 174 removal, 176 preparation, 173–175 cleaning ofairbrush,176 applying, 175–176 nition, 39 nition, see Eyebrow nition, 185 nition, lter, 53 lter, lter, 53 lter, nition, 185 nition, Design Demolding, defi Deep-set eyes,12 Dean, Richard,64,95,112,115,263 Day checking Dark halftone,2–3 Cure inhibition,defi Cure, defi Crowds, Crow’s feet,agingmakeup,123 Crease brush,242 Cream topowderfoundations,typesand Cream foundations,typesandfunctions,74–75 Corrugator muscle,29 Correction fi Core shadow,defi Contours, foundation,78 Contour brush,242 Continuity Contact lens Conjunctivitis, 27 script, 113 relationships withproductionmembers, 112–115 inspiration, 113 development, 114 character design,115–117 time card,229 set chair,228 overview, 218 makeup kits kit fee,229–231 fi commercials, 223,228–229 call sheetreading,219–223 script supervisor,253–254 makeup, 116 blood considerations,210–211 timing ofplacement,127 soft versusrigid,127 scleral lenses,127 ordering, 126 irritants, 126–127 fi examples, 125–126 costs, 127 types andfunctions,75,77,90 color theory,89 lms, 218,221,228–229 126–128 tting, working outof,232–233 treatment products,224–225 set bag,225–227 overview, 223–224 fi lm set,226–228 see Background nition, 185 nition, functions, 75 lter, 50–51 lter, nition, 185 nition, nition, 3 nition, nition, 185 nition, Diamond face, 11 Face Chart, 116–117 Diaz, Kenny, 263–264 Face shapes Digital video diamond face, 11 motion pictures, 61 heart face, 11 resolution, 61 oval face, 11 television, 61 round face, 11 Disinfection, workstation, 88, 108 square face, 11 Dominant wavelength (DWL), 48 Face triangle, 5 Double fog fi lter, 54 Facial expression Drawing anger, 23 body in motion disgust, 23–24 angles, 8 enjoyment, 23 line of action, 9–10 fear, 23 positive and negative space, 9 muscular control, 19, 23, 29–31, 256 lessons sadness, 24 contour drawing, 14–15 surprise, 23 shadows, 15 Facial hair Drug addict, makeup tips, 234 adhesives, 151–152 Dual tone, defi nition, 39 beard stubble 277 DWL, see Dominant wavelength approaches, 149 brush application, 151 Elderly, see Aging sample application, 147–149 Emotion, see Facial expression fi ve o’clock shadow simulation, Enhancing fi lter, 54 104–107 Eschbacher, Daniela, 237, 264 hair ball method, 149–150 Ethmoid bone, 19 lace cleaning after removal, 152–153 Evans, Kris, 165, 264 Makeup Artist experience, 134–135 Extras, see Background masking tape technique, 139–142 Eyebrow net lace method, 150–151 airbrushing, 170 template creation for full beard, 135–139 blocking texturizing, 153 adhesive block, 117–118 ventilated beard construction appliance block, 119 base, 142–143 waxing out, 118–119 cutting, 143–147 makeup types and functions, 81 hair preparation, 143 shaping, 97–98 overview, 142 Eye injury, 207 ventilating, 143 Eyelash comb, 242 Facial muscles, 19, 23, 29–31, 256 Eyelids, aging makeup, 123 False eyelashes, 100–101 Eyeliner Fan brush, 242 airbrushing, 170 Felix-Burke, Kin, 264 brush, 242 Fillers, types and functions, 75 types and functions, 79–80 First assistant director, defi nition and functions, Eyeshadow 251–253 airbrushing, 168–169 Five o’clock shadow, simulation, 104–107 brush, 242 Flat brush, 241–242 types and functions, 79 Flesh tones, mixing, 42–44 Eye shapes Fluff brush, 242 balanced eyes, 12 Fluorescent light, 51 deep-set eyes, 12 Fluorescent light correction fi lter, 54 large eyes, 12 Foam latex mold round eyes, 12 curing, 203 small eyes, 13 demolding, 203 wide-set eyes, 12 making, 199, 201 278 INDEX Gypsum mold Gunshot wound,208 Grooming equipment,89 Greenscreen, 62 Green MarbleSeLr Green, mixing,39,43,233 Gray, mixing,233 Graduated fi Goat bristle,241 Glamour makeup,99–100 Gheno, Dan,2,8,264–265 Gelatin mold Gel fi Furrow lines,agingmakeup,123 Frostbite, 28 Frontalis muscle,39 Frontal bone,18,28 Foundation Fog fi prepping, 202–203 material, 197 making, 197–199 defi aging technique,121–123 painting, 196–197 material, 181,192 making applying, 195–196 types, 52–53 lesson, 57 color wheel,52 types, 74–75 special needs,72 product comparisons,76,244 primers, 73–74 mixing tips,71–72 highlights, 77–78 functions, 72–73 contours, 78 concealers, 75,77 color theory,70–71 brushes, 242 blending, 78–79 artist colorwheel,69 airbrushing, 168 safety, 201–202 painting, 203–204 overview, 197 lters prepping, 194–195 overview, 192–193 molding, 194 heating, 193–194 lter, 54 lter, nition, 185 nition, lter, 53 lter, HIV, Highlights, foundation,77–78 High defi Herpes zoster,27 Heatstroke, 28 Heat exhaustion,28 Heart face,11 Head HD, Halftone Hair, Lighting Light halftone,2–3 Lift, agereversal,119–120 Leukemia, 27 LCD monitor,seeLiquidcrystaldisplaymonitor Latex, moldmaking,180 Lash comb,242 Large eyes,12 Lacrimal bone,19 Kupitz, ErwinH.,135,149,266 KRYOLAN CrystalClear,defi Kit fee,229–231 Key productionassistant,defi nition andfunctions, Kabuki brush,242 Jusko, Don,4,36,42,265 Jaw fracture,207 Illness, makeuptips,234 Human immunodefi ciency virus(HIV),27 Hue, defi Horak, Steven,91,98,265–266 Homeless, makeuptips,233–234 television, 61 monitors, 63–64 makeup considerations,60–61 features, 60 proportions, 4–5 muscles, 19,23 movement axes,3–4 facial bones,19 face triangle,5 cranial bones,18–19,28 light halftone,2–3 defi dark halftone,2–3 color descriptionterms,48–49 camera fi black-and-white photography,54–56 see Highdefi see Humanimmunodefi nition, 2 nition, see Facialhair nition, 38 nition, nition (HD) nition 251–252 lters, 52–53 lters, nition ciency virus ciency nition, 185 nition, color mixing, 49–51 Myers, Kenny, 121, 192, 196, 267–268 gel fi lters, 51–52 Myristate, defi nition, 185 lessons, 56–57 research by Makeup Artist, 48 Nail care equipment, 89 Lips Nasal bone, 19, 28 aging makeup, 124 Natural makeup, tips, 90–91 airbrushing, 170 Neck, aging makeup, 124 brushes, 242 Net fi lter, 54 shapes, 13–14 Neutral density fi lter, 54 Lipstick, types and functions, 81 News anchors and reporters, makeup tips, 235 Liquid crystal display (LCD) monitor, 64 Nose fracture, 207 Liquid foundations, types and functions, 74 Look, Bradley M., 26, 161, 171, 173, 176, 266–267 Occipital bone, 18, 28 Low contrast fi lter, 54 Old age, see Aging Opaque, defi nition, 39 Makeup Artist, defi nition and functions, 134, 251 Opposition colors, types and use, 40–42, 44 Makeup Chart, 116–117 Orange, mixing, 43 Mandible, 19, 28 Orbicularis ocul, 30 Mascara, types and functions, 80 Orbicularis oris, 29 279 Mass tone, defi nition, 39 Ousley, Dina, 167, 268 Masseter muscle, 29 Oval face, 11 Maxillae, 19, 28 McNeill, Daniel, 23 Paddle brush, 242 Melanin, 68 Palettes, products, 245 Men, see also Facial hair Parietal bone, 18 Mentalis muscle, 29 Pax Paint, mixing, 36 Men Period makeup fi ve o’clock shadow simulation, 104–107 1950s, 235 makeup tips, 101 1960s, 235 Mineral foundations, types and functions, 74 1970s, 236 Mix ratio, defi nition, 185 1980s, 236–237 Mold making Photography foam latex mold, 199, 201 black-and-white photography gelatin mold fi lters, 54–56 heating, 193–194 makeup tips, 240–241 molding, 194 fi lm types, 62 overview, 192–193 lighting, 51 prepping, 194–195 Makeup Artist collaboration, 112–113 general steps, 181–184 Pink, mixing, 43–44 gypsum mold, 197–199 Plasma screen, 64 materials, 180–181 Plastics, defi nition, 185 problems, 181 Platinum cure silicone rubber, defi nition, 185–186 safety, 181 Platysma muscle, 39 silicone mold Pneumonia, 27 making, 186 Polar screen, 54 painting, 188–189 Police offi cer, makeup tips, 234–235 terminology, 185–186 Pony bristle, 241 Monochromatic, defi nition, 39 Port-wine stain, features and camoufl age, 26, 90 Mosko, Gil, 197, 203, 267 Pot life, defi nition, 185 Mumps, 27 Powder brush, 242 Mungle, Matthew, 150, 267 Powder foundations, types and functions, 75 Muscular system, 19, 21 Powder, products, 245 Mustache, see Facial hair Primary color, defi nition, 38 280 INDEX Scars, featuresandcamoufl Safety, sanitation,108 Sable bristle,241 Rubella, 27 Round face,11 Round eyes,12 Rosacea, featuresandcamoufl Risorius muscle,29 Rigid gypsummold,defi Retractable brush,243 Reporter, makeuptips,235 Removers Release agent,defi Refl Red, mixing,38,43,233 Real ColorWheel(RCW),36–37,44,69 RCW, Raccoon bristle,241 Purple, mixing,233 Purity, color,49 Pump brush,242 Puff, 242 Psoriasis, featuresandcamoufl Prosthetic makeup Pros-Aide, defi Pros-Aide Bondo,defi Production report,scriptsupervisorrole,254 Procerus muscle,39 Pro mistfi Primers take downtips,240 prosthetic makeup,215 products, 245 transfer ofprosthetics thinners, 215 skin primers,215 removers, 215 painting molds, adhesives, 214–215 types andfunctions,73–74 prosthetic makeup,215 ected light,defi skin prepping,189 removal, 191–192 prosthetic preparation,189–190 on-set, 190–191 materials, 189 applying, 190 silicone rubbermold,188–189 gelatin mold,196–197 foam latexmold,203–204 see RealColorWheel lter, 54 lter, mold; Moldmaking;Siliconerubbermold see Foamlatexmold;GelatinGypsum nition, 185 nition, nition, 186 nition, nition, 3 nition, nition, 185 nition, nition, 186 nition, age, 26–27 age, age, 26 age, age, 26 age, Stage lighting,51 Stab wound,207 Squirrel bristle,241 Square face,11 Spot painting Sponge, 243 Sphenoid bone,19 Soft Sealer,defi Snell, Richard,121 Smudger, 243 Smallpox, 28 Small eyes,13 Slush casting,defi Slating, scriptsupervisorrole,254 Skin tonewarmerfi Skin care Skin Skeletal system Silicone rubbermold Sideburns, Shock, 24 Shadow Setup, workstation,87–89 Secondary colors,defi nition, 38,49 Second secondassistantdirector,defi Second assistantdirector,defi nition andfunctions,251 Sealers, products,245 Script Schedule, MakeupArtistday,85–86 steps, 94–95 overview, 93–94 sun protection,107–108 Makeup Artistrole,86–87 wound lesson,31–32 disorders, 26–28 anatomy, 24,25 upper body,28–29,255 spinal column,28 lower body,29,255–256 lessons, 31 facial bones,19 cranial bones,18–19,28,255 chart, 20 products, 244 painting, 188–189 material, 180–181 making, 186 applying, 186–188 drawing, 15 defi supervisor functions,253–254 makeup design,113 breakdown, 64–65 nition, 3 nition, functions, 251 see Facialhair nition, 186 nition, nition, 186 nition, lter, 53 lter, nition and nition Stencils, airbrushing Translucent, defi nition, 39 applications, 167–168 Transparent, defi nition, 39 cleaning, 171–173 Traynor lift, 119–120 Stipple sponge Triadic colors, defi nition, 39 fi ve o’clock shadow simulation, 104–107 Triangularis muscle, 29 preparation, 107 Tuberculosis, 27 Stipple defi nition, 243 Ultra contrast fi lter, 54 old-age stipple products, 243–244 Undertone, defi nition, 39 Subtractive color mixing, 49–50 Unions, contacts, 271 Sun protection, 107–108 Synthetic bristle, 241 Value, defi nition, 2 Vascular system, 19, 22, 30, 256 Take down, tips, 240 Veins, 30, 255 Tattoo Vendors cover-up Asia, 249–250 quick and easy, 102 Australia, 248 steps, 103–104 Canada, 248 temporary tattoos Europe, 249–250 281 applying Mexico, 249 colors, 213–214 New Zealand, 249 sealer, 213 United States, 247–248 tattoo, 212–213 Veneers maintenance, 214 care, 130 overview, 211 fabrication, 129–130 removals, 214 touch-ups, 130 skin prepping, 211–212 Video lights, 51 Tawil, Joseph N., 48, 268–269 Violet, mixing, 43 Tear products, 244 Vitiligo, features and camoufl age, 27 Teeth touch-ups, 130 Water-activated makeup, products, 245 transformation, 128–130 Wet and dry brush, 243 veneer care, 130 Wheeler, Paul, 53, 60, 269 Temporal bone, 19 Whitescreen, 63 Temporalis muscle, 29 White Tetanus, 27 light, 49 Thinners, prosthetic makeup, 215 mixing, 44, 233 Third assistant director, defi nition and functions, Wide-set eyes, 12 251 Wigs, vendors, 250 Time card, 229 Workstation, setup, 87–89 Tinsley, Christien, 103, 189, 211, 268 Tint, defi nition, 39 Yellow, mixing, 43 Tinted moisturizers, types and functions, 74 York, Patty, 116, 269–270 Top tone, defi nition, 39 Torso triangle, 6–7 Zygomatic arch, 19, 28 Tozier, Nancy, 68, 70, 269 Zygomaticus muscles, 29