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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 Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2008 Gretchen Davis and Mindy Hall. Published by Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: permissions @ elsevier.com. You may also complete your request online via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright & permission” and then “Obtain permission”. Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-80941-0 For information on all Focal Press publications visit our website at www.books.elsevier.com 08 09 10 11 12 10 9 8 7 6 5 4 3 2 1 Printed in China 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. Much love and gratitute to our families, friends and mentors who have cheered us on and guided us through this journey, and lastly to all those actors who have allowed us into their world, face to face for countless hours to do “that thing we do”. We could not do it with out you. Thank you. —Gretchen Davis & Mindy Hall viii FOR ALL MAKEUP ARTISTS, EVERYWHERE 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 PROPORTIONS OF THE FACE AND bright (where the object most directly BODY IN ART faces the light) to the darkest dark An important lesson for Makeup Artists in (where the object is turned away from the all areas of makeup is how to correctly light source). determine proportions, shapes, and Halftones: A generic term that refers to all anatomical structure of the face and body. of the value variations within the light side Makeup Artists are masters at the illusion of the model. The halftones are brightest and manipulation of different shapes and where the form turns most directly toward features of the face and the body for the light source, and are darkest just before makeup designs. Painting and drawing skills the form falls into complete shadow. will give you the ability to understand and use makeup as an art form. The study of Dark and Light Halftones: To keep things anatomy drawing will teach you, for simple, artists should class their halftones 2 example, individual skeletal or muscular into two different categories: “light size, shapes, and functions. “Anatomy is an halftones” and “dark halftones.” Things can applied science which underpins fi ne art, go wrong if these two types aren’t kept the study of structure is essential for artistic separate.