THE MAKEUP ARTIST HANDBOOK

THE MAKEUP ARTIST HANDBOOK:

Techniques for Film, Television,
Photography, and Theatre
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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 CONTENTS
Publishing Services Manager: George Morrison
Project Manager: Kathryn Liston
Editorial Assistant: Robin Weston
Marketing Manager: Marcel Koppes
Illustrations: Robert Revels (www.robertrevels.com) Dedications/Acknowledgments vii
Drawings for Shapes: Dan Gheno
Chapter 1 Shapes 1
Drawings for Color: Don Jusko
Cover Design: Mary Birchler Chapter 2 The Body 17
Focal Press is an imprint of Elsevier
Chapter 3 Color 35
30 Corporate Drive, Suite 400, Burlington, MA 01803, USA
Linacre House, Jordan Hill, Oxford OX2 8DP, UK Chapter 4 Lighting 47
Copyright © 2008 Gretchen Davis and Mindy Hall. Published by Elsevier Inc. All rights reserved.
Chapter 5 Tech Stuff 59 v
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 Chapter 6 Foundations 67
prior written permission of the publisher.
Chapter 7 Beauty and Basics 83
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. Chapter 8 Design 111
You may also complete your request online via the Elsevier homepage (http://elsevier.com), by
Chapter 9 Hair 133
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 Chapter 10 Airbrush 155
paper whenever possible.
Chapter 11 Effects 179
Library of Congress Cataloging-in-Publication Data
Application submitted Chapter 12 How to Be a Pro 217
British Library Cataloguing-in-Publication Data
Cosmetics, Tools, Labs, and Effects 247
A catalogue record for this book is available from the British Library.

ISBN: 978-0-240-80941-0 The Crew 253

For information on all Focal Press publications visit our website at www.books.elsevier.com Glossary 257
08 09 10 11 12 10 9 8 7 6 5 4 3 2 1
Professional Library 263

Printed in China The Pros 265

Unions 273

Index 275
Working together to grow
libraries in developing countries
www.elsevier.com | www.bookaid.org | www.sabre.org
 F O R A L L M A K E U P A R T I S T S , E V E RY W H E R E

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
This page intentionally left blank 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 flawless
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 filmmaker and innovator David Oliver Pfeil, who first
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 FOREWORD
world, face to face for countless hours to do “that thing we do”. We could not do it with
out you.

Thank you.
“Most civilians—people who don’t make movies for a living—think makeup men are little
—Gretchen Davis & Mindy Hall more than hovering sprites who powder noses. But they are true artists, often unsung, who
imprint film 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

viii ix

E VE RYWH E RE
A RT IS T S ,
MA KE U P
A LL
FOR
 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 first 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
This page intentionally left blank 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
field. 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.
1
Shapes

© MARY BIRCHLER DESIGNS

 PROPORTIONS OF THE FACE AND bright (where the object most directly the light source, while they arc dramatically very little reflected light. Even when drawn
BODY IN ART faces the light) to the darkest dark darker near the shadow shapes on the subtly or in a barely visible manner, the core
An important lesson for Makeup Artists in (where the object is turned away from the forehead. Try squinting to test the validity shadow creates a cornering effect that helps
all areas of makeup is how to correctly light source). of the value renditions. When you squint, to magnify the plane changes of the model.
determine proportions, shapes, and the light halftones should fade away and
Halftones: A generic term that refers to all
anatomical structure of the face and body. disappear into the overall light shape, while
of the value variations within the light side
Makeup Artists are masters at the illusion the dark halftones should visually melt into PRO TIP
of the model. The halftones are brightest
and manipulation of different shapes and the adjacent, general shadow shapes.
where the form turns most directly toward Makeup Artists are often asked to match
features of the face and the body for the light source, and are darkest just before a likeness from a real person to an actor,
Shadow: As the form of the model turns
makeup designs. Painting and drawing skills the form falls into complete shadow. or from one actor to another actor (photo
completely away from the light source, the
will give you the ability to understand and double), or from actor to stunt person.
Dark and Light Halftones: To keep things dark halftone shapes get darker and darker,
use makeup as an art form. The study of These are some examples of many differ-
simple, artists should class their halftones until the light completely terminates and the
anatomy drawing will teach you, for ent situations for a Makeup Artist where
2 into two different categories: “light big shadow shape begins. Literally called the 3
example, individual skeletal or muscular shadow shapes and their placement on
halftones” and “dark halftones.” Things can “terminator” by those who deal with light as
size, shapes, and functions. “Anatomy is an the face is important.
go wrong if these two types aren’t kept a science, this shadow edge can look abrupt
applied science which underpins fine art,
separate. Some artists make all of their and contrasty at times, or soft and fused at
the study of structure is essential for artistic
other times. It all depends upon the amount

S H A P ES
representation. The skeleton, joints and halftones equally dark, creating muddy-
looking drawings, while others insist on of reflected light bouncing into the shadow Movement of the Head: To determine the
muscular system of a creature determine its
making their halftones equally bright, side of the model. correct proportions of facial features when
proportions and the movement of the body”
creating washed-out drawings. Notice in the head has moved in different angles, use
(Fehér, 7). There are certain fundamental Reflected Light: Shadows are simply the
the Watcher picture (Figure 1.1) that the vertical and horizontal axes. The
drawing skills that teach you value, form, absence of light. The only reason anything
the halftone shapes are distinctly lighter on centerline is the vertical axis. This line
light, and shadows, as well as how these can be seen within the shadow shape is
the side of the forehead most directly facing determines the movements determires made
elements fall onto the surface of the face because of reflected light. The light source
by the face from side to side. The horizontal
and body. Proportions play an important illuminates not just the model, but also the
axis defines the brow line.
role for realism and how a body is drawn so surrounding environment. The light bounces
as to appear in motion. off the walls, floor, and ceiling, ricocheting
into the shadows, and lighting (or filling) the
VALUE, SHADOW, AND LIGHT
dark side of the model. Indeed, even various
by Dan Gheno body parts reflect light onto the other
Includes information presented in a recent shadowed parts of the model. One very
article in Drawing magazine. The study of important rule to know: no reflected light in
values is a complicated subject. When trying the shadow shape can be as bright as the
to draw in a tonal manner, it helps your direct light hitting the model.
ability to see value changes on the model if
Core Shadow: When the dark side of the
you learn the terminology of the subject.
face turns away from any source of reflected
Values: Each object, whether simple like a light, the shadow gradually darkens until the
sphere or complex like the human figure, is darkest part of the shadow, called the “core
composed of millions of tonal “value” shadow,” is reached. This term refers to an
FIGURE 1-1: THE WATCHER, WOMAN FIGURE 1-2: THE HORIZONTAL AND VERTICAL AXES
changes. These range from the brightest area of the form that gets no direct light and
 If the human head is turned in any Body and face measurements help the artist
direction, the main vertical and horizontal correctly achieve the right proportions.
axes become elliptical curves. Artist Leonardo da Vinci calculated the parts
of the body that could be used as units, and
was the first to adapt the head for units of
measurement. He used the length of the
face, but not the length of the whole head.
His methods are still in use today.

PROPORTIONS FOR THE FACE

AND BODY
by Don Jusko
4 The skull is the basic division of the human 5

body. To draw the head, start with an oval FIGURE 1-5: FRONT VIEW OF DIVISION OF THE HEAD
(3 × 4). Divide the head into three parts:

1. Top of the skull

S H A P ES
Profile View: The height of the side head is important trait, as every person’s triangle is
FIGURE 1-3: ELLIPTICAL CURVES 2. Pupils are the middle. one head length. The width equals one head different.
3. Bottom of the nose to the bottom of the length. The top of the ears are in line with
A smiling mouth lines up under the pupils.
chin the eyebrows. The ear hole is in line with
The two irises usually equal the maximum
If you were to turn in any direction, the the bottom of the nose and the occipital
Add the lips a third of the way down, below smiling width of the mouth. The space
parallel horizontal lines become parallel bone (the hindmost bone of the skull,
the nose. Add the chin crease below the nose. between the eyes is an average of 21/2
elliptical curves. which forms the back of the skull above the
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 1-4: PARALLEL ELLIPTICAL CURVES FIGURE 1-6: THE FACE TRIANGLE
neck mark.
 The shoulder-line mark is a quarter of one head length. The nipple line equals one
head down. This leaves space for the chest head length, the top of the third head
above the clavicle and for the neck-support trunk. The belly button to the space
muscles. between the legs is one head, the bottom of
the third trunk head.
The Torso Triangle: The shoulder line is
two head lengths (not widths) wide, and is The leg space is four and a quarter heads
the top line of the torso triangle that down from the top, including the quarter
extends down to the space between the legs. neck space. The center head overlaps by a
The chin-to-shoulder line is a half of one quarter of a head. The width of the waist at

6 7

FIGURE 1-9: FULL BODY WITH BEND LINE

S H A P ES
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-
FIGURE 1-8: THE TORSO TRIANGLE
down movement of the body takes place
 with each step. Swinging is caused by the Positive and Negative Space: Utilize instance, how many head units does a leg
center of gravity being shifted from one leg negative and positive space to help you measure?
to another. Twisting movements are caused analyze the forms of the figure. Look at the
by the shoulders and hips. When a person so-called empty space, or negative space, The Line of Action: Look for the internal,
walks downhill, his or her center of gravity between the legs, as well as between the left directional movement of the forms that you
descends with each step. Makeup Artists arm and the head. Also look at the space are drawing. You can set them up with lines
interpret these movements on paper, by between the right arm and the body. Ask of action such as the ones drawn in the
sculpting, or through other artistic media. 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 figure. Sculptors
DRAWING THE BODY IN MOTION broad? Do the same for the positive shapes block in their figures in a similar fashion by
by Dan Gheno 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
Begin to draw with a scribble-like gesture,
To keep the relative sizes of your positive the thrust of their sculpted clay forms.
moving randomly back and forth across the
8 shapes under control, gauge each body part Whether you are drawing or sculpting, you 9
page, rapidly drawing the model from head
against some other basic unit of measure- can use these very simple lines of thrust as a
to toe and from one side of the figure to the
ment (see the section “Proportions for the foundation for the outside curves and to
other side. Once you have a feeling for
Face and Body” by Don Jusko). For orient the overall gesture of the figure.
where the figure drawing is headed, start to

S H A P ES
toss in lines of action, sweeping angles that
crisscross through the figure. Begin to gauge FIGURE 1-12: DRAWING BODY IN MOTION
the positive and negative shapes.

Angles: Continue to let your hand amble,

drawing seemly random, angled lines
throughout the figure, trying to find the
forms that line up with or contrast with
each other. In this case, for instance, notice
how the line of the model’s right inner
ankle lines up with the outside of her right
hip. Observe how the complex angles of the
right side of the torso contrast with the
figure’s simpler, flatter left side. Don’t limit
your use of angles to the inside of the
figure. Let them broadly enwrap the outside
of the figure. Collectively, the outside angles
are called the envelope. Use them to judge
the negative space between the limbs and
the torso, as well as the general relationship
FIGURE 1-11: DRAWING BODY IN MOTION FIGURE 1-13: DRAWING BODY IN MOTION FIGURE 1-14: DRAWING BODY IN MOTION
of the ground plane.
 1. On the paper, put a mark where you seems longer than the one with them FACE SHAPES Heart Face: Larger on the forehead and
want to place the top, midpoint, and turned inward. The one tugs the attention There are five basic face shapes that are smaller at the chin.
bottom of the figure. Try to stay within beyond the line and seems to lengthen used the most often. Many people have a
these boundaries when sketching the it, the other pulls it center and shortens combination of face shapes. Face shapes
figure. Observe the center of gravity, it. Makeup Artists exploit this effect. can be used as a guide, but would also
which is represented by this vertical line For instance, by daubing shadow above determine where to place shadows and
that falls downward from the pit of the the outer ends of the eyes, they draw highlights according to what makeup look
neck. Also observe all of the contrasting, them further apart. By applying it above you are creating. (See Chapter 8: Design.)
shifting subforms of the figure. The the inner corners, they narrow them.
The following are the five basic face shapes
head, neck, chest, hips, and legs are (McNeill, 297)
for you to identify and understand the
balanced back and forth over this line, A Makeup Artist will use this principle to differences:
one on top of the other. compose features that are necessary for the
FIGURE 1-18: HEART FACE SHAPE
2. You will usually find the midpoint of the character or beauty makeup. In all areas of Square Face: Large face, straight hairline,
10 square chin, and the cheekbones are not 11
standing figure at the hip bone. makeup, you need to trick the mind as to
what is being seen. particularly prominent. Oval Face: Evenly spaced.
3. The hip usually tips upward above the
supporting, weight-bearing leg. Notice
that the shoulders usually slant in the

S H A P ES
opposite direction of the hips.
4. Where is the crescendo, or peak, of the
curve? It is almost never in the middle of
the curve.
5. It’s important to find the ground plane
of the floor under the feet.

In conclusion, there are as many ways to FIGURE 1-16: SQUARE FACE SHAPE FIGURE 1-19: OVAL FACE SHAPE
start a drawing of the human figure from FIGURE 1-15: THE MULLER-LYER ILLUSION

life as there are artists. The brief outline

Diamond Face: Smaller in the chin and
above is a personal approach to illustrations. Round Face: No strong angle, widest at the
Everyone has their own unique facial forehead.
It was prepared for students, and has been cheekbones.
features and characteristics. As in drawing,
adapted from an article in American Artist where you place a shadow or highlight
magazine (Gheno). represents what you are visually saying
Understanding the portions of the face about your makeup. In anatomy, the
and body will lead you to the Art of placement of the skeletal and muscle
Makeup. Mastering the proportions of the systems in each individual highlights those
face will enable you to create and design unique features. Theatre is one of the
any look. strongest examples of changing shapes to
create characters, although these techniques
In the well known Muller-Lyer Illusion, a can be used in all areas of makeup
FIGURE 1-17: DIAMOND FACE SHAPE FIGURE 1-20: ROUND FACE SHAPE
straight line with flanges pointed outward application.
 EYE SHAPES dark colors in the crease. Less is more with
Eyes can be broken down into six basic this eye shape.
shapes:

Even-Set, or Balanced, Eyes: Equals one

eye length apart. This is the eye shape that
FIGURE 1-27: FULL LIPS MADE SMALLER
is considered the “perfect” one aesthetically.
You can do almost anything with the even- FIGURE 1-25: ROUND EYE WITH COLOR

set eye, and not be as concerned with

corrective makeup.
Thin lips can be made larger by applying
FIGURE 1-23: DEEP SET WITH LIGHT COLOR APPLIED 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
12 symmetry of your work. This is an area in 13
Large Eyes: Will in some cases need to eye, use a light color on the eyelid, and
look smaller. A large eye conveys surprise medium color in the eye crease. Again, less which, if things are not done properly, the
and/or shock, which we will cover later in is more. illusion does not work. Choose a lip pencil
our discussion of expressions. To make the that corresponds to the lipstick color or

S H A P ES
eye appear smaller, use dark colors on the slightly darker. Powder the lip pencil
FIGURE 1-21: EVEN/BALANCED EYE before and after the application of lipstick.
eyelid and eye crease.
This will set the “new” lip line, as well as
help keep the makeup from bleeding.
Wide-Set Eyes: Are spaced farther apart Lipstick colors in light to medium tones are
than the length of the eye. To bring the eyes used to create larger lips, as well as all-red
closer together, place a dark color on the tones.
inside inner corner of the eye.
FIGURE 1-26: SMALL EYE WITH COLOR

FIGURE 1-24: LARGE EYE WITH AN EXAMPLE OF

MAKING IT SMALLER

LIP SHAPES
FIGURE 1-28: THIN LIPS MADE LARGER
Full lips are considered the perfect aesthetic.
There are situations where you will have to
FIGURE 1-22: WIDE SET WITH DARK COLOR APPLIED
Round Eyes: Can handle most colors. It is
create the illusion of smaller lips. To do
the eyeliner that will need to be adjusted
this, apply lip liner just inside the natural
if you have to make the eye look more To create an even lip shape on someone
lip line.
Deep-Set Eyes: Are recessed farther into the almond. Place your eye-shadow color on the with a thin upper lip, apply lip pencil on or
eye socket. To bring them out, place a eyelid, blending up at the outside corners. Choose a liner that is close in tone to the lip just above the top lip line. Then line the
lighter-color shadow on the upper lids. Use You can also place a dark color on the outer tone, or match to the lipstick. Lipstick bottom lip at the lip line. Use powder to
medium colors in the eye crease, and not top corner. colors should be medium to dark. set, then apply lip color.
 observation and letting go—two skills a on top of the other, creating your own 4. Observe how the cloth looks under the
Makeup Artist will use often. Lessons Three design. light. Where do the shadows fall with
and Four will train your mind to see faces 4. When you are done with step 3, each crease?
and objects as shapes. For all the lessons, above, fill in any shadows, highlights, 5. With a pencil, draw the sheet using
you never want to erase. or textures around and inside the simple outlines and only shadows, taking
FIGURE 1-29: TO CORRECT THIN UPPER LIP
drawings. up the whole artist paper. Your design
Lesson One: Contour Drawing should go off the edges of the paper. At
This lesson should be repeated using a Lesson Three: Shadows the end, your material can have a look of
To balance a thin bottom lip with the top
different part of the body each time (hand, This lesson will enable you to see faces and fluid movement or even resemble a
lip, do the reverse. Line the top lip at the
torso, arms, and so on). objects in different shapes created by light mountaintop.
natural lip line. Line the bottom lip past the
natural lip line to create balance and 1. Choose a face or figure. (Use a live and dark.
REFERENCES
symmetry. Again powder to set your “new” model.) 1. Find a photo of an interesting face with
lines. Barcsay, Jenö. 2006. “Anatomy for the
14 2. While staring at the model, put a lot of contrast. 15
Artist” from The Center of Gravity. New
your pencil down onto the drawing 2. On a clean sheet of paper, re-create York: Sterling Publishing Co. Inc.
paper at the point where you want to the face in the photo using only the
start. shapes of the shadows and highlights. Fehér, György. 2006. Cyclopedia Anatomicae.

S H A P ES
3. Follow the edge of the form with your Try not to use any lines. If this is New York: Black Dog and Leventhal
pencil (without lifting the pencil) onto difficult, you can work on one area of Publishers.
your paper without looking down at the face at a time (nose, eyes, lips, chin,
FIGURE 1-30: TO CORRECT THIN BOTTOM LIP
Gheno, Dan. www.dangheno.net (adapted
what you are drawing. and so on).
from Starting a Figure Drawing From Life.
4. After moving around the edges of the American Artist, 17).
object, move your pencil inside the Lesson Four: Shadows
What if you do not need or want to change object. Draw the contours and planes of 1. Take a cloth of some sort—for example, Jusko, Don. Human Proportions and
the lip shape? In this case, apply lip liner the inside features without lifting your a light-colored sheet. Painting. www.realcolorwheel.com.
right at the natural lip line and fill in with pencil. 2. Bunch the sheet up into peaks and McNeil, Daniel. 1998. Constellation of Desire,
lip color. You do not need to powder, valleys.
5. Now look down at your work. Add any The Skin Code. Boston: Little Brown and
because you have not changed the natural
shadows or highlights to your drawing. 3. Set a simple light source over the sheet. Company.
line. However, if it is a kissing scene you
should powder the lips to set the makeup,
or use a lip stain. Lesson Two: Contour Drawing
1. Choose several (three or four) photos of
faces from a magazine.
DRAWING LESSONS
The more often you practice drawing skills, 2. Repeating the steps in Lesson One, do a
the better you’ll translate that into makeup contour drawing of each photo.
applications. Learn to see faces as planes, 3. Using carbon paper, transfer each
edges, and shadows or a living sculpture. drawing that you finish onto a clean
The first lesson is a basic exercise in sheet of paper, overlaying each drawing
2
The Body

© MARY BIRCHLER DESIGNS

 Anatomy is important for the Makeup Artist. The skull of the skeleton is also divided into THE MUSCULAR SYSTEM
Makeup Artists who are asked to create two parts: the cranium, which protects the There are over 600 muscles in the
anything that is directly related to the brain and has eight bones, and the facial muscular system (Figure 2.4). Muscles are
human body will study the vascular, skeleton, which is made up of 14 bones. divided into three classes: cardiac, striated
muscular, and skeletal systems to (skeletal), and nonstriated (smooth). We
Figures 2.1 and 2.2 show the surface
correctly interpret how the makeup or deal only with the striated or skeleton
anatomy of the face and Figure 2.3 the
appliance will be executed. The muscles muscles that are attached to bones and
skeleton system.
that help form facial expressions, support controlled by will.
the skeletal system, and protect internal
organs are just as important to the Makeup THE BONES OF THE CRANIUM Ligaments (which hold the bones together)
Artist as how the body moves and the and tendons (which are connectors between
Occipital: The hindmost bone of the skull.
center of gravity. Understanding the the bones and the muscles) help aid
Forms the back of the head above the nape.
vascular system adds to our knowledge of muscles to execute movement. Origin is
18
Parietal: Two bones that form the sides and FIGURE 2-2: SKULL SURFACE ANATOMY where the muscle is attached to bones that 19
how to achieve realistic trauma. There are
crown of the cranium. Photographer Darrell Peterson remain in his sole do not move. Insertion is a muscle attached
countless books on the subject, and we
copyright 2005, Elsevier LTD All Rights Reserved to a movable bone.
highly recommend owning a collection of Frontal: Forms the forehead.

BODY
anatomy books as well as medical reference
VASCULAR SYSTEM
books.

T H E
The vascular system (Figure 2.5) is a set of
Temporal: Two bones that form the sides of
Anatomy is the study of the human body. complex veins that transport blood to
the head by the ears.
The skeletal system is the physical and from the heart, transport oxygenated
foundation of the body, with 206 bones of Ethmoid: Between the eye sockets. Forms blood from the lungs to the heart, and drain
different sizes and shapes. The skeleton is part of the nasal cavities. blood from the intestines and the
for the most part moved by muscles acting supporting organs. The cardiovascular
Sphenoid: Joins all the cranium bones
as levers. Bones can be classified as long, system is made of heart and blood vessels,
together.
short, or flat. Joints are two or more bones arteries, veins, and capillaries called the
that fit together. One of the functions for circulatory system. The pulmonary
facial bones is determining the high and low THE BONES OF THE FACE circulation sends blood on a path from the
planes of the face—characteristics that make Nasal: Two bones that form the bridge of heart to the lungs and back again, and the
us all different from each other. The the nose. systemic circulation sends blood from the
primary function of the skeletal system is to heart to other parts of the body and back
Lacrimal: These two bones make up the eye
support the body, protect internal organs, again.
sockets.
serve as attachments for muscles, produce
white and red blood cells, and store Zygomatic (or Malar): The two FACIAL MUSCLES AND EXPRESSION
calcium. The skeletal system is divided into cheekbones. Facial expressions are universal. The six
two different areas: the axial and the basic facials codes are enjoyment, anger,
Maxillae: Two bones that form the upper
appendicular. The axial makes up the skull, fear, surprise, disgust, and sadness. Makeup
jaw.
vertebral column, sternum, and ribs. The FIGURE 2-1: FACE SURFACE ANATOMY Artists are often asked to reproduce these
Photographer Darrell Peterson remain in his sole
appendicular is made up of the upper and Mandible: The lower jaw, the largest and emotions with the use of makeup. The facial
copyright. 2005, Elsevier LTD All Rights Reserved
lower extremities. strongest facial bone. muscles come into play by forming these
 Key: Muscles of Anterior Torso
Anterior View
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)
Coronal suture Frontal 8. Rectus abdominis m. Orbicularis
Supraorbital notch oculi m.:
9. External abdominal Orbital part
oblique m.
Outline of frontal sinus Palpebral part Levator labii
10. Internal abdominal superioris m.
Sphenoid oblique m.
Nasal
Temporal 11. Transversus abdominis m. Procerus m. Zygomaticus
Superior orbital fissure minor m.
Zygomatic Inferior orbital fissure 12. Transversalis fascia Nasalis m.
13. Interfoveolar m. Zygomaticus
Infraorbital foramen Outline of major m.
14. Pyramidalis m. Zygomaticus
Maxilla maxillary Depressor septi m.
sinus 15. Inguinal l. major m.
16. Linea alba Levator labii Levator anguli
Mandible oris m.
17. Aponeurosis of external superioris
abdominal oblique m. alaeque nasi m. Masseter m.
Mental foramen 18. Superficial fascia Orbicularis oris m. Thyrohyoid m.
19. Intercrural fibers Sternohyoid m.
Interclavicular l. Buccinator m.
Anterior longitudinal l. 20. Superficial inguinal ring
Risorius m. Levator scapulae m.
Superior transverse Anterior 21. Flexor carpi radialis m.
scapular l. sternoclavicular l. C7 22. Palmaris longus m. Depressor Omohyoid m. (superior belly)
1st rib anguli oris m.
Coracoclavicular l. Manubrium 23. Flexor carpi ulnaris m. Middle scalene m.
Clavicle 24. Flexor digitorum Mentalis m. Sternocleidomastoid m.
Acromioclavicular l. superficialis m.
Depressor labii Trapezius m.
Coracoacromial l. Acromion inferioris m. Omohyoid m. (inferior belly)
Subdeltoid bursa Coracoid process Platysma m. 1 Subscapular m.
Subscapularis m. Greater tubercle
Biceps brachii m.:
Lesser tubercle 2 Long head
Articular capsule Deltoid m.
Scapula 3 Short head
Biceps brachii m.
(long head) Coracobrachialis m.
Humerus 2 4
Internal Teres major m.
Sternum
intercostal mm. Deltoid m.
External 6 Latissimus dorsi m.
intercostal mm. Coracobrachialis m.
Triceps brachii m.:
Interchondral ll. Latissimus dorsi m. Long head
Xiphoid process Medial head
External Costal cartilages Triceps brachii m.: Lateral head
intercostal Long head
membranes Medial head
Lateral head Biceps brachii m.
Thoracolumbar
8 5 Brachialis m.
fascia Brachialis m.
12th rib
Transverse Biceps brachii m.
abdominal m. 9
L1 Medial 7
Articular Bicipital aponeurosis
epicondyle
capsule Brachialis m. Brachioradialis m. (cut)
Lateral
20 Radial epicondyle Bicipital aponeurosis Common flexor t.: 21
16 Pronator teres (cut)
collateral l. Intervertebral disks Supinator m.
Trochlea
Annular l. Anterior Flexor carpi radialis (cut)
Capitulum Biceps brachii t.
longitudinal l. 10 Palmaris longus (cut)
Ulnar Brachioradialis m. 17
collateral l. Ilium Radial tuberosity
Pronator teres m. Supinator m.
Outline of
S1 Extensor carpi
Iliolumbar l. female pelvis Extensor carpi radialis longus m.
radialis longus m. 21 18
Anterior 22 11 Flexor digitorum
Anterior 23 profundus m.
superior Flexor pollicis
sacroiliac l.
iliac spine longus m. Flexor carpi
Interosseous Inguinal l. ulnaris m.
Anterior Abductor 24
membrane Sacrum Flexor digitorum
inferior pollicis longus m.

BODY
Center of gravity Ulna iliac spine superficialis m.
Radius Pronator
Sacrospinal l. quadratus m. 15 Flexor pollicis
Pubis Gluteus longus m.
Sacrotuberal l. Transverse axis Flexor medius m. 12
19
Iliofemoral l. retinaculum Flexor
Head of femur Sartorius m. 14 13 retinaculum
Tensor 20
Greater
Scaphoid trochanter fasciae Gluteus

T H E
Lunate latae m. medius m.
Neck of femur
Triquetral Tensor
Carpals Pectineus m. fasciae
Hamate Obturator Ischium latae m. (cut)
Capitate membrane Adductor mm.:
Trapezoid Brevis Gluteus
Superior Lesser Longus minimus m. (cut)
Trapezium Metacarpals
pubic l. trochanter Magnus Sartorius m. (cut)
Arcuate Pubic Rectus
pubic l. symphysis femoris m. (cut)
Phalanges Iliopsoas m.
Vastus lateralis m. Pectineus m.

Gracilis m.
Rectus
femoris m.
Vastus
Vastus intermedius m.
medialis m.

Vastus lateralis m.
Femur
Rectus femoris m. (cut)
Articularis
Tibial Medial
genus m. Medial Vastus medialis m.
collateral l. epicondyle
Quadriceps femoral
femoris t. condyle
Lateral Patella
Iliotibial
patellar Lateral tract (cut)
retinaculum epicondyle
Medial Transverse axis
patellar
retinaculum Lateral femoral
& tibial condyles
Fibular Gastrocnemius m.
collateral l. Intercondylar
eminence Patellar l. Soleus m.
Patellar l. Extensor
Head of fibula
Medial digitorum
tibial Tibial tuberosity longus m.
condyle Peroneus
Tibialis
anterior m. longus m.

Tibia Peroneus
Fibula Tibialis brevis m.
anterior m.
Extensor
hallucis
longus m.
Superior
Gastrocnemius m. extensor
Interosseous retinaculum
membrane Extensor
digitorum
longus tt.
Soleus m.
Flexor Peroneus
digitorum Inferior tertius t.
longus m. extensor
Peroneus
Flexor retinaculum
brevis t.
Anterior hallucis
tibiofibular l. longus m.
Achilles Extensor
Talus Medial malleolus hallucis
tendon
Transverse axis brevis m.
Medial cuneiform Lateral malleolus
Extensor
digitorum
brevis m.
Key: Abbreviations
Ligament—l.
Ligaments—ll.
Muscle—m.
Muscles—mm.
Key: Abbreviations Tendon—t.
Ligament—l. Vertebrae: Tendons—tt.
Ligaments—ll. Cervical—C Vertebrae:
Muscle—m. Thoracic—T Cervical—C
Muscles—mm. Lumbar—L Thoracic—T
Tendon—t. Sacral—S Lumbar—L

FIGURE 2-3: THE SKELETON SYSTEM FIGURE 2-4: THE MUSCULAR SYSTEM

© 2007 Wolters Kluwer Health/Lippincott Williams and Wilkins. © 2007 Wolters Kluwer Health/Lippincott Williams and Wilkins.
 expressions. Changing or reshaping the Lips can be dry. In terror, nostrils dilate,
Superficial temporal a & v.:
Frontal br. Supraorbital a. pupils widen, and perspiration appears on
Parietal br. Supratrochlear a.
eyebrow, adding a highlighter or shadow
Dorsal nasal a.
Middle temporal a & v. Deep temporal aa.
Middle meningeal a. Infraorbital a.
Angular v. the forehead.
Superficial temporal a & v.
Posterior superior alveolar a.
in the right place, can give off different
Maxillary a & v. Buccal a.
Posterior auricular a. Masseteric a.
Occipital a & v. Superior labial a. & v.
Inferior alveolar a & v. Inferior labial a. & v. emotional signals.
Posterior auricular v. Facial a. & v.
Retromandibular v. Submental a. & v. Surprise (Figure 2.9): Surprise is a lot like
External jugular v. Lingual a. & v.
Internal jugular v. Superior laryngeal a. & v.
External carotid a. Superior thyroid aa. & vv.
Internal carotid a.
Internal jugular v. Facial muscles are formed in four different fear except that, for the seconds before fear
Vertebral a.
External jugular v.
Transverse cervical a.
Middle thyroid v.
Inferior thyroid a.
Thyrocervical trunk Transverse cervical v.
Costocervical trunk 1st rib groups: scalp and facial muscles, eye and takes over, the eyes and mouth open
Dorsal scapular a. Suprascapular v.
Suprascapular a. Dorsal scapular v.
Axillary a & v. 4 Subclavian a. & v.
Thoracoacromial a. 2 Cephalic v. (temporalis muscle working with the
3
Subscapular a. 5
Lateral thoracic a. & v.
eye socket muscles, mouth muscles, and jaw
Anterior circumflex 1
humeral a. 6 Anterior circumflex
7 humeral a. & vv.
Posterior circumflex
humeral a. 8 10 Posterior circumflex masseter muscle), and the eyebrows arch
11 9 humeral a. & vv.
Scapular circumflex a. 13 14
muscles.
Lateral thoracic a. 12 Scapular circumflex a. & v.
Thoracodorsal a. 16 Brachial a. & vv.
Brachial a. 15 Thoracodorsal
a. & v. (frontalis muscle). Surprise in nature began
Deep brachial a. Basilic v.
Deep brachial
17 a. & vv.
Middle SIX FACIAL CODES as a protective measure. We humans raise
collateral a. 18
19
Radial 20 41 Radial collateral
collateral a. 21 42 a. & vv.
43 Superior ulnar
22 44 collateral a. & vv. our eyebrows.
23 Middle collateral Enjoyment (Figure 2.6): A smile employs
Superior ulnar 45 a. & vv.
collateral a. 46
24 Basilic v.
Inferior ulnar
collateral a. Cephalic v.
25 47
26 Brachial
Interosseous
recurrent
27 a. & vv.
two muscles. The zygomatic major curves Disgust (Figure 2.10): The mouth can open
28 Radial
Radial 48
recurrent
recurrent a. a. & vv.
Anterior ulnar
recurrent a. 29 49 Median the mouth, and the orbicularis oculi raises
22 30 cubital v. 23
Posterior ulnar
recurrent a. Accessory
slightly. The nose can turn up slightly and
cephalic v.
Key: Central Figure (continued)
Key: Central Figure Common 50
32 51 33. Iliolumbar a. & v. 48. Quadratus lumborum muscle
interosseous a. 33 Radial
1. Parietal pleura 17. Diaphragm 31 34. Internal iliac a. & v.
Posterior Interosseous a. a. & vv. 49. 4th lumbar a. & v. the cheeks. The cheeks, in turn, press the
2. Right internal thoracic a. & v. 18. Hepatic vv. 34 35. Deep circumflex iliac a.
Ulnar 50. Middle sacral a. & v.
3. Right brachiocephalic v. 19. Inferior vena cava Anterior 35 52 36. Superior vesicle a.
a. & vv. 51. Superior gluteal a. & v.
4. Brachiocephalic trunk 20. Inferior phrenic aa. interosseous a.
53 37. Urinary bladder 52. External iliac a. & v.
5. Left common carotid a. 21. Superior suprarenal aa. Ulnar a. Anterior
54 interosseous 38. Cremasteric a. 53. Inguinal ligament
6. Superior vena cava 22. Right suprarenal gland Median n. 55 39. Obturator a. 54. Inferior epigastric a.
7. Pericardium 23. Middle and inferior suprarenal aa. Interosseous
Inferior
36
a. & v.
40. Spermatic cord 55. Superficial circumflex
skin toward the eye, causing a squint. Eyes
gluteal a. 56 Median
8. Ascending aorta 24. Right kidney membrane 37 41. Esophagus iliac a. & v.
9. Pulmonary trunk 25. Testicular aa. & vv. Medial 38 antebrachial v.
Radial a. 42. Spleen 56. External pudendal aa. & vv.
10. Left pulmonary a. 26. 10th rib circumflex 39
Deep palmar br. femoral a. 40 Ulnar Radial a & vv.: 43. Aortic hiatus 57. Internal pudendal a. & vv.
11. Right lung 27. Abdominal aorta of ulnar a. a. & v.: Superficial 44. Celiac trunk 58. Deep dorsal v. and
appear brighter.
Lateral

BODY
12. Right atrium and auricle 28. Inferior mesenteric a. Superficial palmar Deep palmar br. dorsal a. of penis
circumflex palmar br. 45. Superior mesenteric a.
13. Left auricle 29. Ascending lumbar v. br. of radial a. femoral a.: 46. Left renal a. & v. 59. Pampiniform venous plexus
14. Left pulmonary vv. 30. Common iliac aa. & vv. Deep palmar Ascending 57 Deep 47. Ureter 60. Testicle
15. Right coronary a. 31. Anterior superior iliac spine arch br. 58 palmar
16. Anterior interventricular a. 32. Iliacus muscle Superficial Descending 59 arch
palmar br.
arch Sciatic n. Superficial
palmar
Deep 60 arch
Anger (Figure 2.7): The person looks in
femoral a.

T H E
1st per- 1st
Palmar perforating
metacarpal aa. forating a. Intercapitular vv.
a. & vv.
Common Proper palmar
Deep
palmar
digital aa.
2nd per-
forating a. femoral digital vv.
deep concentration. Eyebrows appear
a. & v.
Descending
br. of lateral
circumflex downward, and the lips look pursed
Proper palmar 3rd femoral a. & v.
digital aa. perforating a. 2nd perforating
Femoral a. & v.
a & v.
4th 3rd perforating
perforating a. Adductor a. & v. (orbicularis oris muscle). When angry, the
hiatus
Popliteal a.
Descending
genicular a.:
Articular br.
Saphenous Popliteal v.
br.
Lateral superior
blood can rush to the face. A flushing of
genicular a. Medial
superior
genicular Lateral superior
a. & vv. genicular a. & vv.
Sural aa. redness can occur.
Great Sural aa. & vv.
Middle genicular a. saphenous
v.
Lateral inferior
genicular a. Medial Lateral inferior
inferior genicular a. & vv.
genicular
a. & vv.
Anterior recurrent Lesser
Fear (Figure 2.8): Eyes are wide and
tibial a. & vv. saphenous v.
Anterior tibial
a. & vv.
Posterior
tibial
eyebrows lifted toward each other. Lips pull
a. & vv.
Peroneal
FIGURE 2-7: ANGER
a. & vv. back (buccinator muscle) and even tremble.
Interosseous
membrane

Anterior medial Perforating br. of

malleolar a. peroneal a. & v.
Anterior lateral Great saphenous v.
malleolar a.
Lateral tarsal a. Dorsalis pedis
Lateral plantar a. a. & vv.
Dorsal venous rete
Medial tarsal a.
Medial plantar a. Dorsal venous arch
Arcuate a.
Deep plantar a. Dorsal metatarsal vv.

Dorsal Dorsal digital vv.

metatarsal aa.
Dorsal digital aa.

FIGURE 2-5: THE VASCULAR SYSTEM

© 2007 Wolters Kluwer Health/Lippincott Williams and Wilkins.

FIGURE 2-6: ENJOYMENT FIGURE 2-8: FEAR

 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
FIGURE 2-11: SADNESS
Meissner's
FIGURE 2-9: SURPRISE corpuscle Sebaceous gland

Ruffini corpuscle
dehydration. The next layer is the dermis, Arrector pili muscle

which contains blood vessels, nerve endings, Elastic fibers

24 and glands. Beneath all of that, let’s not Dermis 25

Outer root sheath
forget the subcutaneous, which has Inner root sheath

Matrix cells
connective tissues and fat, maintaining our
Eccrine gland
Hair papilla

BODY
body heat and storing energy.

Wounds and diseases also play a big part for

T H E
the Makeup Artist. It becomes clear why it is
important to study the human body. Having
medical books of all kinds is a valuable tool
FIGURE 2-10: DISGUST
for research. Not only should you know the
Sensory nerve fibers ( myelinated)
medical explanation of wounds or diseases,
wrinkle (procerus muscle), as if to but also the scene or environment that
Artery Muscle
acknowledge something foul. caused the wound or disease in the first Subcutaneous tissue
Vein Vater-Pacini
corpuscle
place. With that knowledge, you can then Autonomic
Sadness (Figure 2.11): The face seems to nerve fiber (unmyelinated)
decide what products you will use and how Common Skin Disorders
sag. Wrinkles on the mid-forehead,
to execute a realistic makeup. The following
eyebrows droop, and the corners of the FIGURE 2-12: SKIN CHART FOR MORE DETAILS AND SKIN DISORDERS.
touches on only a few examples of wounds
mouth go down (triangularis muscle). © 2007 Wolters Kluwer Health/Lippincott Williams and Wilkins.
and diseases that involve anatomy and the
From The Face, The Skin Code by Daniel Makeup Artist.
McNeill.
Shock: A term used for tissue and organ Disease: Can be caused by a number of stages. Those stages start with exposure to a
failure. There are three forms of shock. All things: age, gender, infection, smoking, disease and end with remission or full
SKIN have three stages. Stage One symptoms drugs, to name a few. There are times that a recovery.
The skin (Figure 2.12) on our bodies is the include cold, pale skin, and rapid heartbeat. disease has no known cause. When you
largest organ we have, weighing in around Stage Two symptoms include weak pulse have a change of metabolism or cell Allergies: Can be caused by airborne irritants.
six pounds. The skin is made up of several and cold, clammy skin. Stage Three is changes, symptoms can occur that, in turn, Symptoms can include sneezing, watery eyes,
layers. The outer layer is the epidermis, unconsciousness, shallow breathing, and make a person aware that a disease is itchy throat, headaches, sore red eyes, runny
which protects us from disease and rapid falling of blood pressure. present. Most often a disease goes through nose, and dark circles under the eyes.
 Anthrax: A bacterial infection. Inhalation Psoriasis: An ongoing disease with periods foundation color. For a protruding sweats, and weakness. A cough can also be
anthrax symptoms are fever and nausea of remission. Dry, flaky scales or thickened scar, apply tattoo palette colors in the present.
with flu-like symptoms. Breathing can be skin around lesions can be itchy and exact opposite order as listed above.
Tetanus: Bacterial infection caused by open
difficult. Intestinal anthrax symptoms are painful. Shadow is applied to the edge of the
cuts and wounds having contact with
fever, nausea, decreased appetite, and scar and blended outward. Foundation
Bradley Look: To camouflage psoriasis, infected soils, dust, and other agents that
abdominal pain. Cutaneous anthrax is is then airbrushed over the entire area.
stipple a light layer of rubber mask cause local infection at the site of the
characterized by small, elevated, itchy Note: A hypertrophy scar can be toned
grease over the affected area. Lightly wound. Unchecked, the infection will enter
lesions. down using makeup; the 3-D
powder to set. Using an airbrush, the bloodstream, causing painful, deep-
dimension is still quite visible if not
FACIAL SKIN DISORDERS lightly cover the area with several light muscle spasms.
properly lit.
passes of airbrush product. Since
As a Makeup Artist, you’ll need to recognize Pneumonia: Bacterial infection. Pneumonia
psoriasis is notably seen only on the Vitiligo: Complete loss of pigment over
skin disorders and what is the best method is the most dangerous to the very young or
elbows and knees, additional body time. There is often a splotchy look to the
for correcting or camouflaging the surface of the elderly. Coughing, fever, chills, deep
makeup might be required using the skin. In fair skin, you might not notice it as
26 the skin. Using an airbrush works well for chest pain, wheezing, and fatigue are some 27
same technique if the condition is much, but it is disfiguring to darker skin
many of the following situations because of the most common symptoms you would
visible elsewhere on the talent. tones.
you will have less contact with the surface expect to see.
Rosacea: Common among people

BODY
of the skin. It also reduces the amount of Bradley Look: To camouflage vitiligo,
rubbing and blending that can irritate with a Celtic background. Rosacea has a airbrush a medium flesh tone over the Herpes Zoster: Viral infection. Symptoms

T H E
already sensitive skin. Skin disorders that butterfly-like redness over the nose and area. Next, lightly airbrush the are small, painful red skin lesions that
cause the skin’s surface to be dry and flaky cheek area. People most often mistake foundation color over the affected area develop along the nerve path.
will also benefit from less rubbing when rosacea for acne. and the rest of the face. HIV (Human Immunodeficiency Virus):
using an airbrush. Bradley Look will explain Bradley Look: To camouflage rosacea, Virus is passed by blood-to-blood contact
how to address the following skin disorders: VIRAL, BACTERIAL, AND
use a similar technique to the one and sexual contact.
OTHER DISORDERS
Port-Wine Stain (Nevus Flammeus): Flat, outlined for port-wine stain.
Conjunctivitis: Bacterial infection of Mumps: Viral disease characterized by
irregular red to purple patches. Starts out as Scars: Usually thick and pink with a
the eyes. Symptoms are pain, tearing, swelling and tender parotid gland and
a smooth surface, but can become an smooth texture. Over time, scars should
and redness with fluid discharge of the salivary glands.
uneven, bumpy texture. Most often will fade to a very pale white. Scars are broken
eyes.
darken with age. down into two types: indented or Leukemia: Blood disorder. No one knows
protruding. Meningitis: Bacterial infection of the the cause of this disease, although genetics,
Bradley Look: To camouflage port-wine
meninges, which are the delicate environment, or the immune system might
stains, mix a mint green adjuster into a Bradley Look: For the indented scar,
membranes that cover the brain and spinal play a part. Symptoms include paleness,
base color. Lightly haze the area, letting using a tattoo palette, apply a highlight
cord. Symptoms can include fever, severe high fever, abnormal bleeding, and weight
the edge trail off. Let this dry before (slightly paler than the skin tone)
headache, stiff neck and shoulders, a dark loss. As the disease progresses, the
covering the affected area and the around the edge of the scar. Next,
red or purplish rash anywhere on the body, symptoms become more severe, including
surrounding skin with foundation. If around the area of highlight, apply
mental confusion, vomiting, and sensitivity infections, organ enlargement, and tender
there is still some bleeding through of slightly darker tone than the skin color.
to bright light. bones.
the port-wine stain, use Michael Davy’s By the creative use of highlights and
Airbrush Grade Prosthetic Cosmetic 2, shadow, you are attempting to make Tuberculosis: Bacterial infection in which Rubella: Viral disease. A rash forms on the
which has double the amount of the scar appear less indented. bacilli are deposited into the lungs. face, then quickly spreads to the rest of the
pigmentation. Afterward, spray over with appropriate Symptoms are fatigue, weight loss, night body.
 Smallpox: Viral disease. A rash forms The Skeletal System Ribs: Curved bones connected to the The Muscular System
on the face, spreading to the trunk of the The skeleton is divided into two different thoracic vertebrae. Muscles are described by size, shape, origin,
body. Lesions form inside the mouth and areas. The axial is made up of the skull, and function. There are over 700 known
Sternum: Breastbone.
nose. vertebral column, sternum, and ribs. The muscles in the body.
appendicular skeleton is made up of the Humerus: Upper arm bone.
Chicken Pox: Viral disease. A small rash
upper and lower extremities. The skull is Facial Muscles
forms that turns into papules. Radius: One of two lower arm bones. The
divided into cranial bones. These bones Jaw Muscles
radius is narrow at the end that connects
form the cranial cavity. The cranial cavity Masseter: Raises the jaw and clenches the
ENVIRONMENTAL CONDITIONS with the humerus, and wider at the joints it
houses the brain and facial bones, which, in teeth.
forms with the wrist bones.
Frostbite: Freezing of body parts, turn, form the face.
mostly nose, fingers, and toes. Frostbite Ulna: One of two lower arm bones opposite Temporalis: Helps the masseter muscle to
has three different stages. First stage is in shape to the radius. raise the jaw and clench the teeth.
The Skull
pain with itching, maybe swelling. Second Frontal Bone: Bone located at the forehead. Carpal Bones: Wrist bones.
28 stage has blisters that can turn black. In the Helps define the orbits of the eye. Mouth Muscles 29
third stage, you’ll observe redness, deep Metacarpals: Hand bones. Buccinator: Draws the corners of the mouth
colors of purple, severe blisters, and Mandible: The lower jawbone. backward, flattens and tightens the lips.
Phalanges: Finger bones.

BODY
sometimes a loss of extremities in the Maxillae: The upper jawbones. Caninus: Raises the corner of the
affected area.
mouth.

T H E
Nasal Bones: There are two nasal Lower Body
Heat Exhaustion: Occurs when someone bones. The vomer bone separates the nasal Pelvic Bone: Attaches the lower body to the Mentalis: Raises and tightens the
has been exposed to heat for long lengths cavities. axial skeleton. chin, thrusts the lower lip up and
of time. There is also a loss of fluids.
Occipital Bone: Large bone that makes up outward.
Symptoms include being tired, nausea with Femur: Thighbone. It is the strongest bone
vomiting, sweating, and headache. the base of the cranium. in the body. Orbicularis Oris: Circles the mouth and
Zygomatic Arch: Bone that defines the purses the lips.
Heatstroke: Elevated body temperature. Patella: Kneecap.
Symptoms include red skin, no sweating, cheekbone. Risorius: Pulls the corner of the mouth
Tibia: The larger of the two bones that form
elevated body temperature, difficulty sideward and outward.
the lower leg bone.
breathing, confusion, seizure, and possible Spinal Column
Triangularis: Pulls the corner of the mouth
coma. The spinal column is made up of 26 bones. Fibula: The smaller of the two bones that
downward.
The bones protect the spinal cord. The form the lower leg bone.
spinal cord is strong and flexible—allowing Zygomaticus Major and Minor:
ANATOMY TERMS Tarsals: Anklebones.
movement, supporting the head, and Muscles that raise the mouth upward and
Anatomy is a complex field, but we’ll serving as the attachment for the ribs and Metatarsals: Foot bones. outward.
concentrate on the areas Makeup Artists muscles.
most likely will use as reference. The Phalanges: Toes.
Eye Muscles
following terms outline only a few of the Joints: Where two or more bones come Corrugator: Assists the orbicularis muscles
examples found in the skeletal, muscular, Upper Body
together to either aid movement and/or in compressing skin between the eyebrows.
and circulatory systems. Clavicle: Collarbone.
keep the skeleton together. Vertical wrinkles form.
Scapula: Along with the humerus, helps to
form the shoulder joint.
 Orbicularis Oculi: Closes the eyelids and Celiac Trunk, Superior Mesenteric ANATOMY LESSONS 2. Make copies of each of the photos.
compresses the opening of the eye from Artery, and Inferior Mesenteric Artery: It is hard to constantly memorize and 3. List the correct facial muscle(s) on
above and below. Supply blood to the abdominal internal remember every bone and muscle in the the photo that is/are causing the
organs. body, not even counting the vascular expression in the photo (for example:
Procerus: Tightens the inner eye by
wrinkling the skin on the nose. Renal Arteries, Suprarenal Arteries, and system. But even learning the basics and crying, laughing, being scared, and so
Gonadal Arteries: Provide internal organs having those references to remind you of on).
to the back of the abdominal wall. the correct placement of bones and muscles 4. Repeat step 3, above, for each of the
Face Muscle
is important. The first two lessons are different photos.
Frontalis (Frontal Part): Draws the scalp Left and Right Common Iliac Arteries: important because the more often you look
to the front, wrinkles the forehead, and The abdominal aorta divides into left and at and write down a term, the more you’ll Lesson Four: Body Wounds
pulls the eyebrows upward. right common iliac arteries. start to recognize it. This lesson can be done over time to get
Platysma: Neck muscle that draws the
what you want. Using a camera, take
lower lip downward and upward. Veins
Lesson One: The Skeletal System pictures of several different types of
30 Superior Vena Cava: Receives blood from 31
1. Find an unlabeled drawing, photo, or wounds. You can also use several
Circulatory System and Veins the upper body by way of the internal
chart of the skeletal system. photographs found in magazines or medical
The circulatory system is made up of two jugular, subclavian, and brachiocephalic
2. Make a copy of the unlabeled skeletal books.

BODY
different systems. In the pulmonary system, veins.
system for yourself to write on. 1. Observe up close what the shapes,
the right side of the heart receives Internal Jugular: Receives blood from

T H E
deoxygenated blood from the rest of the 3. List the bones correctly on your copy of sizes, colors, and textures are for each
the head and neck area, including the
body and pumps it to the lungs. In the the unlabeled chart, checking your wound.
brain.
systemic system, the left side of the heart answers from the labeled skeletal system 2. Write down where the wound is located
receives oxygenated blood from the lungs Subclavian: Empties blood from the chart in Figure 2.3. You need to list only on the body, using the correct medical
and sends it to the rest of the body. Arteries shoulder area. the basic bone structures: skull, neck, terms to describe the location. (For
carry blood from the heart to the tissues Brachiocephalic: One of two veins that shoulders, arms, chest, wrist, fingers, example: The scratches are located on
and organs. Veins return the blood to the form the superior vena cava. legs, ankles, feet, toes, and so on. the epidermis in the torso area, and
heart. so on.)
Inferior Vena Cava: Receives blood
Lesson Two: The Facial Bones
from the pelvis, abdomen, and lower The idea of this lesson is for you to start
Arteries 1. Find an unlabeled drawing, photo, or
limbs. looking at wounds or illnesses in terms of
Aorta: Largest artery in the body. chart of the facial bone structure.
colors, shapes, and textures instead of by
Portal System: A set of veins that deplete 2. Make a copy of the unlabeled facial bone what you think you already know. Starting
Coronary Arteries: Supply blood to the
blood from the intestines and the structure for yourself to write on. a book for future reference is always a good
heart.
supporting organs. idea. At the end of one year, review your
3. List the basic facial bone structures on
Brachiocephalic Trunk, Right Carotid book. It could include some of the following
Hepatic Portal Vein: Vein that leads from your copy of the unlabeled chart,
Artery, and Right Subclavian Artery: wounds:
the intestinal veins to the liver. checking your answers using the labeled
Provide blood to the neck, head, and upper
facial charts in Figures 2.1 and 2.2. • A bruise (new, a few days old, a week
limbs. Splenic Vein: Vein leaving the spleen.
later)
Left Carotid and Left Subclavian Arteries: Superior Mesenteric: Blood returns to Lesson Three: Facial Muscles
1. Find three or four photos of interesting • Scratches (new and old)
Provide blood to the left side of the head, circulation through this vein by way of the
neck, and upper limbs. small intestine. faces with lots of different expressions. • A cut (new and old)
 • Scar(s) Kluwer Company, Philadelphia: Anatomical Habif, Thomas P. 1996. Clinical Dermatology, ——. 2007. Heat exhaustion. www.
• Blister(s) Chart Company, Skokie,Il. third edition. St Louis: Mosby Year Book Inc. medicinenet.com/heat_exhaustion/article.
html.
Alcamo, I. Edward. 2003. Anatomy Coloring Look, Bradley. 2007. How to Cover Facial
Workbook I, second edition. New York: Disorders. ——. 2007. Heatstroke. www.medicinenet.
REFERENCES Princetonreview Inc. com/heatstroke/article.html.
McNeill, Daniel, 1998. The Face. Boston:
(Contributers) Cheryl A. Bean, Peggy
Barcsay, Jenö. 2006. Anatomy For The Artist. Back Bay Books; Little, Brown & Company. Moses, Kenneth P., John C. Banks, Pedro B.
Bozarth, Yvette P. Conley, Lillian Craig,
New York: Sterling Publishing Co.Inc. Nava, and Darrell Peterson, 2005. Atlas of
Shelba Durston, Ken W. Edmisson, William MedicineNet. 2007. Frostbite. www.
Clinical Gross Anatomy. Mosby.
F. Galvin, Deborah A. Hanes, Joanne DiMaio, Vincent J. M. 1998. Gun Shot medicinenet.com/frostbite/page2.html.
Konick-McMahan, Lt Manuel D. Leal, Wounds, Practical Aspects Of Firearms,
Dawna Martich, E. Ann Myers, Sundaram V. Ballistics and Forensic Techniques, second
Ramanan, Barbara L. Sauls, Janet Somlyay, edition. Boca Raton: CRC Press, Boca Raton.
32 Sandra M Waguespack. 33
Fehér, György. 2006. Cyclopedia Anatomicae.
Atlas of Pathophysiology. Second Edition. New York: Black Dog and Leventhal
Lippincott, Williams & Wilkins. A. Wolters Publishers.

BODY
T H E
3
Color

© MARY BIRCHLER DESIGNS

 The basics of color are essential for you, as concealing tattoos, birthmarks, blemishes or
a professional Makeup Artist, to know and irregularities in the skin, and coloring
understand. You will use this knowledge prosthetics—use color.
in every makeup you do. There will be
Some examples are:
countless times when color issues come up
that you will have to be able to problem • Will the shades be positive or
solve. negative?

You cannot problem solve unless you • How will colors look under certain
understand color and its functions. The lighting conditions?
wrong color choice can change everything • How will a color register on film or
about what you as an artist are trying to say HDTV?
with makeup. • How to correct skin tones?
36 Color understanding is used to create • How to counter color for film or 37
mood, to enhance skin tone and HDTV?
character design, and to correct
It is always a good idea to study
environmental issues such as lighting and

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color theory in detail, as
mixing of pigments.
it is an interesting and complex
Artists can—and often do—select many FIGURE 3-1: DON JUSKO’S RCW COLOR WHEEL
field.
palettes, whether in blues or earth colors,
for example. But if you are trying to mix Don Jusko founded the Real Color
Wheel (RCW, Figure 3.1), which has In this chapter, we refer to Don Jusko’s Real On the RCW, the colors on the outside of
colors and get the widest range, you want
modernized the way we use and relate Color Wheel and how it relates to the the wheel are pure hues. What you can add
the three primary colors that allow you to
to color. Makeup Artist. to alter these colors is a tint with white, a
do that. In the subtractive process, those
tone with white and the complement color,
colors are cyan, magenta, and yellow. The
Don’s color wheel is one in which HOW TO USE THE COLOR WHEEL or a shade with just the complement color.
purer each of these is in terms of color, the
every color has an opposite color to This will determine the final outcome of
wider the range of colors you can mix. This A color wheel in this true form gives
be used in mixing neutral darks. Any a that color, including the addition of
includes the Makeup Artist who mixes the artist a tool to create different hues
rtist who wishes to mix dark colors analogous relationships next to each other
pigments for a variety of surfaces and skin and to shade them to neutral darks. The
without black pigments can use the on the wheel. Always start matching or
tones. Mixing pigments to create Pax Paint Makeup Artist would take this one step
RCW. You could also use this color plotting a pure color from the outside of the
is an example of Makeup Artists using further by considering what colors also
wheel to match, darken, or lighten skin color wheel—this is the pure hue. Finding
paint color in their work. Pax Paint is a would work under different conditions:
tones and to find the complement colors to the correct color or area of color, you can
combination of Pros-Aide (adhesive) lights, color corrections, color grading, and
existing colors—for example, accents to decide where to go from there. For example,
that is mixed with acrylic paints to be used so forth. The following will give you the
eye shadows and lipstick colors. According if you want to find the complement of the
on a variety of surfaces in which there is a basic language used to decipher the
to Don, “It is important for an artist to color that you have already plotted, go to
strong bond of color that will not lift or blending of hues.
know how colors relate to one another, the opposite side of the color wheel. You
flake off.
which opposite colors will darken the To begin to understand how to use the will know the color will work. You can then
All aspects of makeup—foundations existing colors, and which colors are color wheel, it is important to know where to tint, tone, or shade that hue to get the
color-correcting skin tones, lip tones, analogous.” start. desired effect.
 FIGURE 3-5: A BLACK & WHITE SCALE

FIGURE 3-2: APPLE PRIMARY COLORS

FIGURE 3-4: A TINTS COLOR WHEEL

38 39

Green: A mixture of cyan and yellow.

Tints (Figure 3.4): Made by adding white to

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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
FIGURE 3-3: SECONDARY COLORS AND A WHEEL or cyan and green.
pure powder pigment.
Complementary (Figure 3.7): Any
Undertone: Adding clear media
colors 180 degrees apart on a 360-degree
TERMS Secondary Colors (Figure 3.3): Colors that Transparent: Dyes are clear—you can see wheel.
are made by mixing together two primary through transparent dyes.
Hue: Any color. Triadic: Any three colors that are 120
colors. Translucent: Milk is translucent—it can degrees apart on the wheel, usually primary
Primary Color (Figure 3.2): There are three
Red: Made by mixing yellow and never be transparent by adding a clear colors.
primary colors. They can be mixed together
magenta. medium.
to make all other colors. Transparent Yellow Split complementary colors are formed like
is PY 150 or PY 153. Transparent Magenta Blue: A combination of magenta and Opaque: Dense, like a small rock—it a Y on the color wheel—one color on each
is PR 122. Transparent Cyan is PB 15. cyan. cannot be seen through. side of a complementary color.
 • 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

40 41

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

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FIGURE 3-7: RCW WHEEL

Opposition, or complementary, pigments

make neutral darks. If you mix two opposite FIGURE 3-10: BURNT SIENNA
pigments, the color will result in a darker
hue. This enables the Makeup Artist to work
with darker pigments without using black. FIGURE 3-8: CADMIUM YELLOW LIGHT, CADMIUM
It is also a great way to mix pre-existing YELLOW MEDIUM, ULTRAMARINE BLUE

makeup when you want to form a darker

shade. Because the pigments complement
each other, there will be a natural look to FIGURE 3-11: OPAQUE CADMIUM RED LIGHT, CADMIUM
your work. The darker pigments will not RED DARK AND THALO BLUE
Blue (Figure 3.8). Notice that yellow
clash against the skin tone of the person
darkens to brown. Brown and ultramarine
you are working on.
make the neutral dark.
The following outlines the six opposition • Cadmium Orange is opposite Cobalt Blue
colors and the neutral darks they will (Figure 3.9).
generate.
• Burnt Sienna (Figure 3.10), which
FIGURE 3-12: QUINACRIDONE MAGENTA TRANS. PR:122 FIGURE 3-14: BROWN PIGMENT CHART WITH YELLOW
• Cadmium Yellow Light and Cadmium is a dark orange, is opposite Cobalt
AND THALO GREEN TO BROWN NATURAL OXIDES, BOTH RAW AND BURNT
Yellow Medium are opposite Ultramarine Blue.
 makeup are generally complementary to are colors used to get skin tones. Colors You need to understand how colors neutralize reds (for example, to tone down
most skin tones, and especially with eye from yellow to red all darken to brown, function in relation to makeup artistry. ruddy skin tone or broken capillaries in the
shadow for a more natural look. For either by adding brown or by mixing face). Warm greens (with yellow added)
natural-looking makeup, a variety of neutral brown. All skin colors have a range of 10 Red is one of the secondary colors. Magenta look good on golden tones, or golden skin
browns flatters and registers well for the tints and 10 darks for each of the seven is a primary color. The complementary tones. Cool greens (with cyan or blue
camera. Highlighting and contouring with colors. To make a skin tone lighter, you will color to red is cyan. Red is made by mixing added) look good on cool tones, or skin
neutral browns has a less harsh effect. In take the color already plotted and lighten it yellow and magenta. A cool cherry red with cool undertones. Green is also used in
situations where browns register darker on with white or yellow. To make a skin tone (RCW #12.6.5) will bring life into a darker bruising and to portray illness, cold, or
film, staying with neutral browns avoids darker, you will take the color already cool skin tone, but only if the skin tone is rotting. Green is also used to cover tattoos.
having your brown registering too dark and plotted and darken with browns and the cool as well. Orange red will give a healthy Green or shades of green should not be
unflattering. Remember that what you complement color. The Makeup Artist can glow to golden skin. Red is also used in used in greenscreen work—anything green
decide to use is the outcome of the problem also change existing foundations or mix makeup effects to show sun damage, alcohol becomes invisible.
solving for the makeup situation you have your own by using the color wheel. abuse, windburn, crying, skin lesions and
42 at the time. What is the skin tone? What is rashes, bruising and trauma to the skin, Orange is a warm color that is between 43
the lighting situation? Is this a makeup and to neutralize any gray undertones in yellow and red on the RCW. The
COLOR FUNCTION complementary color to orange is
special effect? What medium is it? Are you appliances, and tattoo cover-up.
Usages and combinations of color greatly halfway between cyan and blue, called
working in theatre, film, television, HDTV,

COLO R
affect your final makeup application Blue is a secondary color. The complement Cobalt Blue (RCW #22). Orange is a
or print? Whatever the situation, knowing
(Figure 3.15). to blue is yellow. Cyan is a primary color. vibrant color that can be used as a
what pigments make brown is a plus.
Blue is a combination of magenta and cyan. highlighter on warm and dark skin tones.
You will also need to address the
Blue will work with most skin tones. Blue Orange is a good color to use for masking
undertones in the skin, eyes, and lips. Color
MIXING PIGMENT FOR and shades of blue should not be used for out blue, as in beard stubble and covering
can balance, conceal, correct, or show
FLESH TONES bluescreen work—it will disappear. Blue tattoos. Orange also will neutralize blue
emotion. Example: If there is too much red
can be used in makeup to portray illness, undertones (or blue lighting) in dark skin
by Don Jusko in the face, you can apply a green or yellow
death, cold, and freezing, as well as bruising tones.
Every skin tone is unique. All the colors and under or over the foundation to neutralize
of the skin.
ranges of colors from #1 yellow to #7 red the red. 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 flatter 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 flattering to most skin tones. Magenta pink
FIGURE 3-15: TUBE PIGMENTS FOR COLOR FUNCTIONS
(yellow green). In makeup, green is used to is good on cool skin tones. Warm pink
 (with golden tones added) looks good on edges. Use the RCW in Figure 3.1 for REFERENCES ——. www.realcolorwheel/pigmentrcwmap.
warm skin tones. In makeup, pink is used reference. Jusko, Don. www.realcolorwheel.com. htm.
in eye shadows, lipsticks, and blushers to 2. Paint in the correct colors on your
——. www.realcolorwheel.com/ ——. www.realcolorwheel/tubecolors.
show good health. wheel.
complementsneutral.htm. htm.
Black is often used to darken another color 3. After you are done painting, number and
and make a shade of that color. Shading name the wheel.
colors can also be made by mixing opposite
colors together. Black mixed with white Lesson Two: Complementary Pigments Make
makes a neutral gray. Cool, darker skin Neutral Darks
tones tend to look good in black. In 1. Draw three simple contour drawings of
makeup, black is used in eye shadows, an object or face.
eyeliners, brow color, and mascara. Black 2. Pick three of the opposition colors in
can be used to add drama or depth to Figure 3.7 to use as details, shadows, or
44
existing colors. highlights (for example, Cadmium
Orange and Cobalt Blue are opposition
White is added to other colors to make
colors).
tints. In makeup, white or off-white can be

COLO R
used as highlighters, or to make darker 3. Use the colors separately and mixed
colors stand out. Cool, darker skin tones together to create neutral darks.
tend to look good in white.
Lesson Three: Complementary Pigments Make
COLOR LESSONS Neutral Darks
1. Use the example from Lesson Two, but
Color is one of the most important things to
instead follow the brown pigment chart
have a good understanding about. The more
(Figure 3.14) for reference.
you use what you read, the easier using
color becomes. Whether you use a
Lesson Four: Creating Several Skin Tones
traditional color wheel or the Real Color
1. On artist paper, create several skin tones
Wheel is up to you. The lessons address
by using pigments that have been tinted
using the different primary colors, but the
or darkened accordingly. Remember to
knowledge can also be used for more-
use all the ranges of color from #1
traditional ways of color mixing. Just think
yellow to #7 red.
of these color lessons as a way to mix to get
even more color choices. 2. Darken these colors to brown by mixing
your browns.
Lesson One: The Color Wheel 3. When you come up with skin tones you
1. Using artist paper and a pencil, like, write down, next to the color, the
draw a Real Color Wheel. Be sure to use exact combination you used. This is a
the correct dimensions and straight way to keep records for future use.
4
Lighting

© MARY BIRCHLER DESIGNS

 Lighting can be one of the most important stuff, and be ready to work out of your kit Brightness: The percentage of transmission
tools for a Makeup Artist. It is always a and think on your feet. of the full spectrum of energy (similar to
good idea to know what type of lights are value). Often described as intensity.
Joseph N. Tawil, President of
being applied and the kind of gels or filters
GAMPRODUCTS, Inc., is an expert in Purity: The purity of color is similar to
that will be used in front of the lights or the
light and color mixing. He suggests: chroma. It describes the mixture of color of
camera lens. Makeup is often adjusted to
“Often I recommend that lights be set up in the DWL with white or the color of the
meet those demands. Most often, if you
the makeup room in which you can put source. If there is only color of the DWL, it
have designed your makeup with the
colored gels to simulate the lighting on stage is 100 percent pure; but if there is very little
lighting in mind, your artistry will be
or for camera.” DWL in the mixture, as in a tint, the color
enhanced by it. If you ignore the effects that
could be as low as, say, 5 percent pure.
lighting and color have on your makeup This is a perfect working condition, but you
application, the mistakes will be obvious for cannot count on it. On some productions, White: The presence of all colors in the
FIGURE 4-1: ADDITIVE COLORS
all to see. It all works together and takes this will be accommodated, but it depends light.
48 years to really learn, but you will get on the project, prep time, and—very Black: Absence of all colors. 49
invaluable practical experience with each important—the money. Lighting packages
Texture: The surface properties of a color, the third primary (complement, as in
job. Eventually, you will recognize what can be expensive, and so are those
as in shiny or matte, reflective or diffusing. completes). For example, by combining red
colors work with the lighting situations you lightbulbs.
and blue, you get magenta and other colors
are in, and the more information you know

LIG H T ING
in the violet and pink range. Combining
about lighting, filters, and gels, the better COLOR DESCRIPTION TERMS THE LANGUAGE OF ADDITIVE AND
blue and green generates cyan (blue green)
the outcome. FOR LIGHT SUBTRACTIVE COLOR MIXING
colors. Combing red and green creates
by Joseph N. Tawil, President, by Joseph N. Tawil, President, yellow and other colors in the orange range.
Before a shoot starts, ask questions of the GAMPRODUCTS, Inc. GAMPRODUCTS, Inc.
Director, the Cinematographer (also known Complementary colors are also called
Hue, value, and chroma are terms from the Color mixing with lights is called additive
as the DP, Director of Photography), or the secondary colors. Violets and pinks are
Munsell system of color notation (published color mixing (Figure 4.1). This tricolor
Gaffer (Lighting Designer). If they are not complementary to the primary color green
in 1905). It is a system designed for mixing theory was proposed by Sir Thomas
available, sometimes the First AD (Assistant because they contain red and blue. Oranges
explaining color in ink and paint rather Young in the early 1800s, and it is the basis
Director) can help. Of course in some jobs, and yellows are complementary to the
than color in light. However, the three for all film and video color systems today.
you will not get the chance to ask any primary color blue because they contain red
descriptive terms are used to define the Young discovered that by mixing red, blue,
questions. Be observant, watch the lighting and green.
color of light, contributing more to the and green light, he could make the most of
crew and camera, and ask questions when
confusion than to the clarity of the subject. the colors in the visible spectrum. Young Tricolor mixing is illustrated in Figure 4.1.
they are not busy. Most people are very
The vocabulary of color is a minefield of determined that red, green, and blue were It is interesting to note that the
happy to explain their job or situation to
contradictions and confused meanings. the ideal primary colors of light because complementary colors (or secondary colors)
you. Is it a film, video, HDTV, or stage
Colorimetry is another system for describing they allow for the widest variety and create created in the additive color-mixing
production? You should know whether you
color, and is of particular interest because it a reasonable white. Red, green, and blue are process—cyan, yellow, and magenta—are
are filming indoors or outside, day or night,
relates well to colored light. In colorimetry, three colors that are widely separated from the primary colors of the subtractive color-
and what lights, filters, and gels are
the following terms are used to describe the each other. Because of this, they will mixing system. Obviously, this in not an
planned. There are so many factors, and the
color of light: combine to make many other colors, accident, and the two theories do tie
more you know, the better off you are.
including, in the right circumstances, white. together.
Remember, this is not a perfect world— Dominate Wavelength (DWL): The apparent
there will be many, many times that color of the light. Similar to the term hue, Combining two primary colors creates a Subtractive Color: Subtractive color
information is not available. So know your meaning the apparent color (e.g., red). secondary color that is a complement of filtering (Figure 4.2) is something all of us
 television is divided between the two. For
example, if you are shooting in an office
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 film, television, and stage.
additive color mixing with the use of gels —Gerd Mairandres, Wigmaster,
and filters in front of the light source does. San Francisco Opera
Fluorescent Light: This type of light is
50 51
FIGURE 4-2: SUBTRACTIVE COLOR CHART problematic because of the green spikes
attributed to it. Manufacturers make two
kinds of fluorescents: 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

LIG H T ING
leans toward daylight. Other problems with
have experienced in elementary school, Subtractive color mixing is what we do of colors used theatrically. When you’re
fluorescents are inconsistent lamp
where we have mixed paints to make a when mixing makeup pigments, as opposed working in the theatre, the lighting designer
manufacturing, aging lamps that are still
variety of colors. Later, we will. It’s possible to the Lighting Department, which will use is there during the technical/rehearsal
being used, and the fact that certain colors
to read art books where painters talked the additive process for color mixing. In period, and their color design can be
are always missing from the spectrum. If you
about mixing primaries to make different other words: discussed then.
find yourself on a shoot with fluorescents as
colors. The primaries are often described in Additive Color: In the additive color- a light source, and you need to match or The theatre usually uses an incandescent
these art books as red, yellow, and blue. mixing process, we are adding primary create a specific color (let’s say lipstick), take source unless you’re looking at a xenon
Filmmakers, however, see the subtractive colors to come to white light. In the a test photo before the shoot begins. follow spot or HMI follow spot, which is
color-mixing primaries described as yellow, subtractive color-mixing process, we very close to daylight, and much bluer in its
cyan, and magenta. Using the same are mixing the primary colors to Video Lights: Video often uses softer lights
energy. The makeup is decided by how
language to describe primary colors in both come to black. (soft boxes) for indoor interviews. Film and
bright the light will be, how large is the stage
the subtractive and additive color-mixing video usually work with HMI (hydrargyrum
When the artist knows that the word being lit, what color gels or filters are being
processes causes a great deal of confusion. medium-arc iodide) if shooting outside in
“additive” means mixing light to get a color, used to light the actors or objects onstage,
Printers and filmmakers define the the daylight or with incandescent in the
and the word “subtractive” is mixing and how the light is used around the stage.
subtractive primary colors more accurately studio. Be prepared to make adjustments to
as cyan, yellow, and magenta (CYM), pigments (makeup), all the mystery about a Photography: Photography uses light to
the makeup if the actor is being moved
separating them from the additive color light source is better understood. create greater dimension, to highlight
from an interior shot to an exterior shot.
process. In subtractive color mixing, as we Correction Filters: The primary function There is a big difference in the visual different areas, and to reduce or magnify
mix the primary colors of paints, inks, or for correction filters is to balance to a given perception of the colors when incandescent details. Natural light is often used to create
filter emulsion layers, the resulting color light source. The two points of balance most lights are used inside to do your makeup, moods. Artificial lights are used to control
gets darker and darker, and eventually often used are 3200K (or tungsten), and and then you go outside and shoot in different shooting situations. Tungsten or
black. daylight (usually 5600K). Most film and daylight or with HMI lights. incandescent lighting is most often used.
 GEL FILTERS video, theatre, and digital add-ins, and what windows. Blue gels, depending on what is makeup. Lips appear much lighter. Greens
Gel filters (Figure 4.3) are used in front of each color is most often used for, as well as being shot, can have a cooling effect on the will look darker, and violets will look black.
the light source to change what the light is how to adjust your makeup to work under skin tone and over all the makeup. Reds Good to create contrast. Used most often for
putting out. Lighting designers use gel filters these conditions. look like hues of violets and pinks (tints). theatre or specialty film.
for many different reasons. Gel filters are Blues and blue greens tend to fade. Lipsticks
Green Gels: Used to match the green spike
made of transparent plastic that is heat appear darker.
General Breakdown of Colored Gel Filters in fluorescent lights or discharge. Also can
resistant, and they come in different be used with other gels for color effect.
for Light Sources Grey Gels: Used on lights where color
translucent colors. They should not absorb Used on lights, windows, and to contrast.
No-Color Blue: Top light for theatrical temperature and sharp shadow or patterns
heat, and are usually made of polyester or All green colors will fade. Blushers all
daytime. Top light in theatre tends to pale must be maintained. Works as a neutralizer
polycarbonate. You usually buy them in but disappear. Lips look dark, so a lighter
the skin tone. Areas of the face such as the and will also neutralize your makeup colors.
sheets or rolls. Film people tend toward and brighter lipstick works. The warm tones
eyes tend to sink or cast a shadow.
rolls, theater people toward sheets. Why Orange Gels: If used with appropriate in red orange, orange, and yellow orange
gels and filters are used and what color is Blue Gels: Used most often to match amount of + or − green, will help correct look good. Blues will take on a blue green
52 53
chosen can affect your makeup. There are daylight or to suggest nighttime. Can be some fluorescent of discharge sources, and tone.
also digital equivalents of lighting gels and used to make a light source bluer, and also can also be used to simulate sunlight. Use
filters created by companies such as used with other gels to achieve specific on light or windows. Makeup colors stay
CAMERA FILTERS
GAMPRODUCTS, Inc. with Digital Film color temperature. If used with + or − the same, but try not to layer with too many
Tools. The following explains the color of green, will help correct some fluorescent or by Paul Wheeler, Digital Cinematography

LIG H T ING
warm tones, which could create an orange
the gels for photo cameras, film cameras, discharge sources. Used on lights and face. If the person has a ruddy skin tone, Camera filters are used to alter the
add green to your makeup. temperature of lights, change an image, or
enhance colors. The following filters 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 film.
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 flattering 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 filters. These filters are
Red Gels: Used for sunsets, sunrises, fires, used to darken or color one area of a scene
FIGURE 4-3: FILTER COLOR WHEEL
and to add contrast. Red fades most of your without affecting the rest of the scene.
 Natural-Density Filters: Used to open up Artificial lights are used to control the less intensity than red but more intensity
the aperture at which you will shoot the brightness of the image and for different than yellow.
scene. lighting effects. Usually tungsten or
incandescent lighting is used. These light Green Filters: Will lighten green colors.
Low-Contrast Filters: Reduce the overall
sources can also be used in color Blue Filters: Will lighten blues and darken
contrast in a scene.
photography. Digital black-and-white yellow, orange, and red. Works well to
Ultra-Contrast Filters: Like the low photography works by switching the modes enhance fog mist or haziness.
contrast filters, but work with the incident, within the camera from a color LCD to
ambient light. Ultra contrast filters work grayscale. Pictures are taken with color Diffusion Filters: Are used for a soft-focus
beautifully with bringing up shadow details. signals that are recorded by CCD, but the effect (as in softening wrinkles on the
Fog Filters: Try to emulate fog. Images will image is later processed to remove all face).
FIGURE 4-4: THE EFFECT OF INFRARED LIGHT ON SKIN color. Filters are also used in all forms of
have less definition and contrast. TONE Optical Effect Filters: Are multiimage
black-and-white photography. Many
54 Double Fog Filters: Objects near to the photographers feel that if you have filters such as star filters. These filters can 55
camera will appear less affected than those BLACK-AND-WHITE PHOTOGRAPHY bring a soft, diffused look to the image.
experience and expert knowledge in black-
far away. Black-and-white photography with the use of and-white photography, you will thrive in Polarizing Filters: Are used in color and in
Pro Mist Filters: Give a glow around light registers color in variations of gray. Seen color photography. That is because of the black-and-white photography. Reflected
intense sources of light. Highlights become this way, more attention should be given to natural instincts you will develop by sunlight is reduced, haze can be penetrated,

LIG H T ING
“pearlized.” composition and the levels of tone a color working in gray tones. That theory works and overall skies are darkened. Color
will be. Tones are used with light in black- for the Makeup Artist as well.
Net Filters: Nets will affect the scene saturation is increased. Reflections are
and-white photography to portray emotions,
differently depending on the color used. reduced or eliminated.
through the lightness or darkness of Filters Used in Black-and-White Photography
A white net will diffuse highlights into shadows. The direction of light is important Today, there is, more than ever, a growing
Black-and-white photography uses filters to
shadows. Dark nets will often bleed to the Makeup Artist. Front lighting will field of technology in the world of
alter shades of gray. The following filters
shadows into highlights. A brown net will reduce the textures and depth of the photo. entertainment. What a production chooses
and their functions will allow the Makeup
add richness and overall warmth. Backlighting will highlight the image and to shoot and edit with can be wide open.
Artist to adjust makeup according to what
Enhancing Filters: Bring out one color at a reduce the detail. If the image is lit from the filters are used, whether for art’s sake or for This technology has opened the door to
time without affecting any of the others. side, it will have a greater dimension. When natural makeup, when adjustments are new and wonderful tools to work with. One
These filters affect the red and orange shooting outdoors in direct light, shadows necessary. of those tools is being able to edit digitally
portions of a scene. will appear darker, with contrasting lights and create the same effect that gels and
Red Filters: Red filters are used to add
and darks. Cloudy or misty days will filters give when used on a light source.
Fluorescent-Light Correction: The FLB dramatic contrast in black-and-white
soften shadows. But this said, how the sun Digital Film Lab is a unique plug-in from
filter corrects fluorescent light to type B film photography. In color photography, red
reacts during a shooting day will greatly Digital Film Tools meant to simulate a
or tungsten-balanced video camera. The reduces blue and green. Red filters will
influence your decisions. Full sun will create variety of color or black-and-white
FLD filter corrects fluorescent light to enhance any red.
a harder light, with stronger shadows and photographic looks, diffusion and Color-
daylight camera. Yellow Filters: Will darken blues and
highlights. Cloudy or partial sun has a softer Grad camera filters, light gels, film stock,
Polar Screens: Screens that are used to look. Your makeup could look one way in lighten green, yellow, orange, and red and optical lab processes. You would still
darken the blue portion of a sky in color the morning light, and another way at noon colors. apply the same principles (filter gels) on
photography as well as reducing reflections when the sun is strongest. Be aware of this Orange Filters: Work the same way as what colors to choose for makeup to better
in parts of a scene. throughout the day. red filters and yellow filters, except with fit the digital color process it would go
 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
filters make to the same object.

This lesson is extreme. You’ll rarely have an

actor pure blue or pure green because of
filters. However, it does show you how your
makeup should be adjusted when gel filters
FIGURE 4-5: DIGITAL PLUG FILTER ORIGINAL FIGURE 4-7: DAY FOR NIGHT FIGURE 4-10: HALO
are being used.

56 REFERENCES 57

Tawil, Joseph N. Color Description Terms For

Light. www.gamonline.com/catalog/
colortheory/language.php.

LIG H T ING
—— 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.

FIGURE 4-8: COOL Zolenski, Vicki. 2007. Black and White

FIGURE 4-11: INGRY
Photography. www.blackboardarts.com.
Photography by Larry Stanley
FIGURE 4-6: DIGITAL PLUG FILTER ANTIQUE
Internet Resources
Digital Film Tools. www.digitalfilmtools.
com.
Lesson One: Gel Filters
through later. Figures 4.5 through 4.11 1. Take a digital camera and hold a GAMPRODUCTS, Inc. www.gamonline.
show Digital Film Tools simulated color gels colored gel filter up against the lens. com.
and filters from Digital Film Labs. Take a close-up picture of an object
under a simple light source (for example: Ilford Photo. www.ilfordphoto.com.
a plant, flower, lips, animal, or whole
LIGHTING LESSONS Robin Kanta Photographic Supply.
face).
Lighting, like color, is complex. A simple www.photofilter.com.
2. Using that same object and same light
lesson in light and gels will remind the
source, continue to take pictures, one at www.montanaphotographer.com
Makeup Artist why these things can affect
FIGURE 4-9: BLEACH
his or her work.
5
Tech Stuff

© MARY BIRCHLER DESIGNS

 Makeup Artists should be aware of what before the shot. A 24-inch high-definition If the production is using an HD monitor of digital cameras are usually progressive
medium is being used to film, and should monitor works best. decent quality and size on set, then the DP high-definition formats. Cameras for
apply the makeup to reflect that. What are and Makeup Supervisor have a much easier digital motion pictures are becoming
the meanings of some of the words “digital” MAKEUP DEPARTMENT AND HD task. On a well-set-up 14-inch (or, better more and more advanced and easier to
and “HD”? What is “bluescreen” or by Paul Wheeler still, 24-inch) HD monitor, most problems use with already-existing camera lenses
“greenscreen”? What is a monitor? The can be more quickly and effectively dealt for film.
The relationship between a Director of
following outline describes media that you with. It’s that adage of “what you see is
Photography (DP) and the Makeup Designer Resolution in Digital: This is a little more
will often encounter while working as a what you get”—whereas peering down an
and their team, I believe, has to be one of complex than what you would assume.
Makeup Artist. optical viewfinder on a film camera will not
close cooperation—especially if there are Each pixel of the image is partial toward
tell you as much. Remember, though,
prosthetics on set or, as so often happens in red, green, or blue. The color image is taken
neither will be quite as devastatingly critical
WHAT HD LOOKS LIKE period pieces, wigs. The closeness between from this pattern of colors. Film stock has a
of your work as when the image is blown
the join for a prosthetic or hairpiece needs certain amount of grain to the image, which
by Paul Wheeler up to a cinema screen. But the same has
to be reflected in the closeness in some people feel is lacking with digital
60 High-definition (HD) images are very sharp, always been true of film. 61
cooperation between these two crafts. pictures. However, a high-end DP knows
with long tonal ranges. Colors are lifelike
Working on HD or film is very similar. If the Note that each frame of film has the little how to light and use the correct filters to
and true. Whether seen on a monitor or
HD camera utilizes 2/3-inch chips, then the silver grains in slightly different places. Each get the same images and textures of film.
digitally projected, there is no dirt on the

S T U F F
DP will be restricted in the amount of pixel on an HD image is in exactly the same Color grading is often created digitally
pictures, no scratching, and no picture
diffusion that can be deployed in front of the place on an HD image. Usually, as far as the instead of using a photochemical process.
instability. Adjustments can be made with

T E CH
lens in a very similar way to a Super 16 mm Makeup Artist is concerned, that is not a
filters or within the camera menus. High-Definition Television: HDTV is a
camera. Any form of diffusion on a 2/3-inch problem—but, just occasionally, it needs
television broadcast using higher-resolution
With HD (Figure 5.1), one of the most HD camera has to be very light. This is watching. If the camera or the artist is
formats. When considering resolution, the
obvious changes when you watch a because diffusion has a greater effect in HD, moving, you can usually forget about this—
screen and how the image is transmitted
projection by a state-of-the-art HD projector and this makes it very difficult for the DP to but if both are static, then something like
come into play. HDTV has a least twice the
is the total lack of grain usually associated find that subtle level of diffusion where the the pattern of a wig net can, very
resolution of standard television. The
with film. However, grain can be added lace will disappear, but the rest of the scene occasionally, line up with the pixel array,
picture on HDTV is clearer, with better
with filters if so desired. Images on set can will not look false. If the camera utilizes a and the net will look awful. If spotted early
color spectrum.
be checked by real-time monitors to single chip similar in size than a normal on, no problem. Just a slight change in
evaluate what your makeup looks like 35 mm film frame, then the ability than camera angle will usually put the aligned Digital Television: DTV is a
deploy diffusion to help with the makeup lines out of alignment, and all will be well. telecommunication system for broadcasting.
will, again, be similar—but this time the help Pictures and sound are received by digital
can be greater than with the smaller image MEDIA EXPLANATIONS signals. Digital television systems can carry
formats. both standard-definition and high-definition
Motion Pictures in Digital: Motion
formats. Digital television can be received in
Basically, if the Makeup and Hair teams are pictures that are shot digitally are films in
different ways: aerial, pay-TV, digital cable,
familiar with working in the 35 mm film which their images are captured on digital
digital satellite, and DTV monitor.
theatrical environment, then they should formats. These images can be taken with
have no trouble whatsoever with the HD any media that can use digital technology. Digital Photography: Images are captured
environment. That said, a few things are Digital cinematography is a term usually with electronic devices that record the
easier in HD, and just a couple of things used to describe when film is being images on binary data. Digital photography
FIGURE 5-1: A DIGITAL HI-DEF CAMERA
need more-careful watching. substituted for digital. Cinematography image quality is expressed by pixel counts
 and the way the camera can turn data into Monitors are set up for the director and
the correct color balance. DP first. Where they are set up and how
will keep the AC (Assistant Camera) busy.
Photographic Film: Can be polyester,
The practice I like is for the Second AC to
nitrocellulose, or cellulose acetate. The film
cable from a single primary source on the
is coated by silver halide salts that are
camera a feed for the monitor the Director
suspended by gelatin. When exposed to
and DP will be using. When this is done,
light, it forms an image. The film is put
a second feed, totally independent from
through a chemical process to expose that
the first feed, is supplied for everyone
image.
else to tap into. The Second AC can rig a
Black-and-White Film: There is one layer single monitor for the Script Supervisor,
FIGURE 5-3: GREENSCREEN
of silver salts. When grains are developed, Photo contributed by Bob Kertesz, www.bluescreen. Makeup, Hair, and Costume. That is, if
the salts are converted into metallic silver. com the DP allows it.
62 This blocks the light and will be exposed as 63
the black part of the negative. In some situations, there will be different
areas for viewing, as Paul Wheeler describes.
Color Film: Uses three layers. Dyes are It not only depends on the DP, it also

S T U F F
added to the silver salts, which in turn depends on the Director. The Director and
become more sensitive to color. The layers the DP will decide where and how many
FIGURE 5-2: BLUESCREEN
are usually blue, green, and then red. When

T E CH
Photo by: www.eefx.com – chroma key screens and setups of monitors there will be. One
the film is being processed, the salts turn supplies monitor for just the Director and the
into metallic silver, which reacts by forming DP allows them to work in a quiet
colored dyes. environment, without the distraction of
shooting for bluescreen, lights and gels are
Print Film: Print film when processed turns others, or to work in private. It is very
often used to cast off yellow, orange, and
into a negative. The negative can be color or common to have two setups for monitors.
warm tones. This is all to keep the actor FIGURE 5-4: MONITORS
black and white. Print film must be viewed Photo contributed by: www.Marshallelectronics.net
There can also be a third setup for monitors
separated from the background.
by being printed on photographic paper or for the clients, visiting guests, studio
observed through a lens. Greenscreen (Figure 5.3): Is often used in executives, and so on. If a monitor is not
the same way as bluescreen. Greenscreen has provided for you, and you need to check
Bluescreen (Figure 5.2): Is used often for
a stronger luminance than blue and shows Whitescreen: Is used for a variety of your work, ask the First AD if a monitor
shooting people. Skin tones (reds, yellows,
more detail. Because of this clarity, reasons. The background is white, which can be set up for you. Remember, every set
and greens) are opposite of the blue
greenscreen is used often for special effects. adds to the contrast between screen, clothes, is different. Some jobs will have monitors
background. Bluescreen works by
Special effects can also include people in the makeup, and hair. There are no wrong or available for you, and some will not.
photographing or filming an actor in front
shot. The same principle applies as far as right choices except to watch colors that are
of a blue background. Shades of blue Here are a few examples of monitors to look
makeup. Leave out colors that will blend pale, clothes that are pastels or white. These
should not be used while shooting for:
with the background to avoid makeup that colors might blend into the background.
bluescreen. The blue makeup might cause a
could cause spills and transparency to your Cathode Ray Tube: CRT monitors are also
spill format in the background to appear on Monitors (Figure 5.4) help the Makeup
work. available in true progressive-scan monitors.
the surface of the face. With incorrect Artist to judge how the makeup looks under
colors, the face can almost start to look Example: Superman flying through the lighting conditions on the set. Paul High-Definition Monitor: A good monitor
transparent. Warm colors work best. When Manhattan. Wheeler: for the Makeup Artist to view. You will get
 a real image of what to expect, and the Producers, who need to budget and 3. Read through a third time, making better prepared you are for conversations
details will enhance any flaws. Talented schedule, based on the information in the character notes, and start an effects list. with the Director, Producers, and other
DPs will actually use this monitor to light script. An understanding of the script is 4. List all characters, along with any script department heads.
the set. necessary for answering the many questions descriptions of their looks.
that will come up during prep and filming.
Liquid Crystal Display: LCD monitors 5. List all makeup effects or looks that need REFERENCES
This allows the Makeup Artist to effectively
usually found attached to the camera or on to play in continuous scenes. Make notes
deal with the changing conditions and Wheeler, Paul. 2001 Digital Cinematography.
a flexible arm that allows the Focus Puller on how long an effect or look works.
concerns of a shoot. You will build lists of Linacre House: Focal Press, an imprint of
(First AC) to see the action being shot. This is your makeup continuity.
characters, scripted notes on the characters Elsevier
This monitor is lightweight and nice to look (how they look and dress), makeup effects, Example: Fred is hit in SC 3. His cheek is
—— 2003. High Definition and 24 P
at, but is not the right monitor to check for location or environments that will affect bruised.
Cinematography. Linacre House: Focal Press,
colors and lights and how they affect your you, and any written descriptions affecting
Question: How many scenes does the bruise an imprint of Elsevier.
makeup. makeup. This information will influence
work, and what is the progression or age of
64 the design and needs of the Makeup 65
Plasma Screens: Available in larger screens, the bruising? When is the last time you see Internet Resources
Department, including budgeting. Script
often between 42 and 61 inches. They have the bruise? Digital photography. http://en.wikipedia.
breakdown is your chance to understand
a little less quality than the CRT monitors. org/wiki/Digital_photography.
how the story moves, to get an Example: Mary and Joe leave the diner.

S T U F F
understanding of everything that has to It starts to rain. They run two blocks to the Digital television. http://en.wikipedia.org/
happen to the characters, how many “script car. wiki/digital_television.

T E CH
days,” which scenes are day, which scenes
PRO TIP Question: Where do they drive to? How EEFX. www.eefx.com.
are night, and if there are any environmental
long do you maintain the “wet look”?
In filming situations, if you need to check factors (such as rain). Script breakdown will
HDTV. http://en.wikipedia.org/wiki/
your makeup, ask the DP or Camera help you make decisions on how to achieve Your effects list will also help you in
HDTV.
Operator for permission to look through and maintain the makeup looks. There are budgeting for the department. The better
the lens. This way, you are seeing the computer programs available for script you know and understand the script, the www.bluescreen.com
image with gels, filters, and the lighting breakdown. It is recommended that you use
in place. Sometimes in film, using the both manual and computer breakdowns for
monitor is not the best way when check- makeup.
ing or correcting your makeup. 1. Start by reading through the script
without taking notes.
2. Read through a second time, making
notes on what “day” or “night” it is, per
SCRIPT BREAKDOWN scene.
Script breakdown is the process of analyzing Your days/nights will need to be checked
your script. Breaking down a script is not against the Script Supervisor’s breakdown.
a suggestion—it is essential toward your Always defer to the Script Supervisor’s
process of analyzing, developing, and breakdown—this is given to all
designing makeup. All departments do a departments, and is the definitive
breakdown of the script, starting with the breakdown of the script.
6
Foundations

© MARY BIRCHLER DESIGNS

 For every person that sits down in your have to learn and really understand how to knowledge through color theory and mixing to it, and can be warmed by adding a bit
chair—whether you are working on a deal with all the different undertones in the foundation. of yellow. You can see how very similar
film, designing elaborate characters for skin. Do not rely on just looking at the colors can be warm or cool depending on
She explains: “The key to understanding
theatre, creating an image for a photo surface of the skin—the undertones that are whether blue or yellow undertones are
color theory is the artist color wheel.” (See
shoot, or skillfully applying a beauty present just under the surface will affect the added.
Figure 6.1.) Nancy continues:
makeup for television—you will need to color you apply to the skin. This takes
How does the color wheel apply to custom
know that person’s skin tone. If you do not much practical experience and exposure to
If you divide the color wheel in half from blending cosmetics?
get this part right, your makeup will the wide variety of skin tones and different
top to bottom, the colors on your right are
appear dull, gray, and lifeless. One of the combinations, as well as situations you will In Chapter 3, we showed you the Real
the cool colors—blues, and shades of blue
things you’ll learn as a Makeup Artist is be with. Ethnicity, environment, and illness Color Wheel (RCW) for mixing pigments.
(blue green, blue violet, and raspberry).
how to be quick and to think on your all play a part in a person’s individual Nancy uses the traditional artist color wheel
We associate these colors with the cold.
feet. In many cases, we do not have the undertones, and in some cases are not for custom blending of cosmetics. The
The colors to the left are the warm colors.
luxury of time to work on a person— easily recognized. Look at what happens to traditional color wheel primaries are red,
They contain yellow. We associate these
68 everyone from the Director to the crew is color when applied to the skin. Does the blue, and yellow. Makeup foundations have 69
colors with fire. The color at the very
waiting on you. Train yourself on the steps color enhance the skin tone, or is there a these colors in them. To custom blend a
top of the wheel, red, can be warmed if a
to analyzing skin tones, and you will be a gray or dull quality? Unless the part calls for foundation to match the client’s skin
little yellow is added, moving toward the
better Makeup Artist. This would also illness, your goal is a healthy tone to the perfectly, you must begin by determining
orange tones on the left. That very same
include makeup effects. Makeup effects deal skin. if the client is warm toned (with golden
red can be cooled by the addition of a
in great length in the art of skin tones and undertones) or cool toned (with blue
Nancy Tozier, Director of Education and little violet, moving toward the blue
color layering. undertones). People rarely look blue, so we

FOU N D A T IONS
President of Take up Make-up Cosmetics, tones on the right. In the same way,
say cool (or blue) undertones. A variety of
says: Learning color theory can help you green, at the very bottom of the color
The primary function of the skin is to brown shades can be made by combining
change a good makeup application into a wheel, can be cool if a bit of blue is added
protect, and to regulate heat. Differences in the primary colors.
great one. By understanding color theory,
skin color are due to the amount of melanin
you can take years off a face, make eyes To intensify a color, you add an additional
activated in the skin and the way it is
show from across the room, create amount of that same color. To neutralize
distributed. Melanin is the pigment of the
harmony, and change dull to outrageous, a color, we look at our color wheel and
skin. Melanin protects the skin cells from
while always knowing exactly what you’re choose the color directly across from the
ultraviolet rays by absorbing and blocking
doing.” color we want to lessen. For example, if a
UV rays through tanning, which is a
foundation is too yellow, if we look at a
reaction to sun exposure. UV rays have Tozier teaches throughout the United States
color wheel, we see the opposite color is
the greatest impact on how skin ages. and internationally. She specializes in
violet. We add small amounts of violet until
Approximately 80 to 85 percent of our teaching the artistry of makeup, color
we reach the desired tone.
aging is caused by the sun. Melanin in the analysis, and skin care. The following
skin is nature’s sunblock, and the more outline will show you how to incorporate Here is a guide to determine which colors
melanin in the skin, the darker the skin the color wheel to plot skin tones. You will intensify a color, and which colors
tone. Scientists have estimated that people also learn to custom blend foundations and neutralize a color.
of African decent have some 35 different powders with color to enhance or correct
hues or shades of skin. Undertones that skin tones. Again, this theory in the use of • If the person needs more gold, add
tend to dominate dark skin tones are color is a basic knowledge for all Makeup yellow.
FIGURE 6-1: ARTIST COLOR WHEEL
yellow, orange, red, olive, and blue. You Artists. Nancy will guide us with her • If the person needs less yellow, add violet.
 • If the person needs less pink or has with different depths of color can be 6. Clean paper towels for keeping
rosacea, add green. cool toned. things tidy.
• If the person needs less peach, first add Make sure that the actor is seated in bright Select a color of foundation similar to the
mint, then violet. daylight so that you will get the best view of level of lightness or darkness of your client’s
This method can be used with translucent the skin without interference from other skin. At this point, you also need to try to
powders as well. Most private-label sources of color. match the client’s undertones. Does her face
makeup companies offer the tools to custom 3. If you think the actor has a warm skin look golden, pink, greenish, or peachy?
blend, as well as empty bottles or jars, and tone and their skin is fair, then light Look for a similar foundation color. Most
larger-sized foundation bottles to work golden yellow, gold, or adobe would be custom blend foundations come with the
from. Always mix your foundations in a good colors to place next to the skin. following additives: yellow, violet, green, or
beaker for accurate measurements. With white. You may have to mix two different
practice, you will learn the exact amounts If you think the actor has a golden skin tone foundations if the client’s coloring falls
to add. If you add too much color to but has darker coloring, burnt orange, between the shades of foundation that you
70 71
neutralize, you can always add back in some avocado green, or deep gold would be good are using. Place a little less than two
of the opposite color. Check your color colors next to the skin. What you are looking FIGURE 6-2: TAKE UP MAKE-UP COSMETICS’ COLOR ounces of foundation in the beaker.
wheel. for is if their skin takes on a healthy look. CHART Remember that you will be adding some
color, and you want the finished amount to
FOUNDATION MIXING fit into the bottle.
COLOR THEORY AND
by Nancy Tozier, Director of Education and

FOU N D A T IONS
MIXING FOUNDATIONS PRO TIP 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.
by Nancy Tozier, Director of Education and You can use blusher or eye-shadow colors
Once you have determined the shades that A foundation that matches the client’s neck
President, Take up Make-up Cosmetics from your makeup kit that are similar to the
are best suited to the person, you will begin will give the most harmonious appearance.
To custom blend a foundation that matches colors suggested above for checking skin
the process of mixing foundations to correct We’ve all seen too many faces that appear to
the client’s skin perfectly, you must begin tones.
or enhance the actor’s skin tone. be a completely different color than the
by determining if the client is warm toned person’s neck. A sure sign of unprofessional
First, be sure that the client is seated in
or cool toned. Does the client’s skin have makeup!
good daylight, just as you did in the color
golden undertones or cool undertones?
4. If a color is wrong for a person, their skin exercise. You will need to have the Now determine if the foundation needs
(Cool undertones are sometimes referred to
will take on a grayish cast. If the color is following on hand: correction. If, for example, the client’s skin
as blue undertones, but because people
rarely look blue, let’s say cool.) Here’s what good for a person, they will look healthy 1. Several shades of foundation that are is more golden than your foundation, you
to do: and vibrant. Don’t let your preference for close to your client’s natural coloring. would add more gold. This is called
a color cloud your vision. You are looking intensifying a color. If your client’s skin
1. If you have on hand different colors of 2. Several shades of corrector in mint
for the effect on the skin, not if you like is less golden than your foundation, you
cosmetic or barber caps or drapes, that green, pale yellow, violet, and white.
the color. Learning to see the whole want to lessen the amount of gold in the
would be helpful in determining skin 3. A glass beaker to mix your new
picture takes practice, so don’t get foundation. This is called neutralizing a
tones. foundation in.
discouraged if it isn’t easily apparent at color. If you add too much color, you can
2. Look closely at the actor’s skin tone. Do first. Use the chart opposite to help you 4. A skin-care spatula for mixing. always neutralize it by adding some of the
you see any gold? Don’t confuse a beige find the colors that bring out the best for 5. An empty foundation bottle in which to opposite color, easily identified using the
or brown tone with golden. Many people clients with different skin tones. pour the finished foundation. color wheel.
 • If the client needs less yellow, add violet. beautiful. In this situation, often the neck is moisturizers, liquid, cream, cake, stick, PRIMERS
• If the client needs less pink or is covering yellow as well, so foundation will need to cream to powder, and powder. You can Foundation primers even out the texture of
rosacea, add mint green. cover the neck and be well blended at the achieve a different level of coverage with the skin, keep the makeup smooth and
base of the neck. each type of foundation. Color, consistency, flawless, add longevity to the makeup, and
• If the client needs less peach, first add
Nancy gives us valuable lessons and and coverage will guide you in choosing protect the skin underneath. They also
mint, then violet.
understanding on skin color analyses and what foundation to use for different skin prevent moisture loss. Some Makeup Artists
This method can be used with translucent foundation mixing. In today’s fast-paced types and situations, and if you should or always use a primer to prep the skin before
powders as well. Most private-label makeup industry, we work with premixed should not use a primer first. applying foundation. Some use primers only
companies offer the tools to custom blend, foundations, as well as concealers, tinted when they decide primers are needed to
as well as empty bottles or jars and larger- primers, and camouflage creams to correct if achieve a certain look or when they need to
sized foundation bottles to work from. we are not mixing colors. We also mix these protect the skin. Silicone-based primers are
PRO TIP
So, in review, to intensify a color, add more “premixed” foundations together on palettes great for sensitive or allergic skin. The
to get the match needed. You will be mixing Remember the three Cs of choosing what silicone used is nontoxic. These primers
of the same color; to neutralize, add the
72 foundation to use: Color, Consistency, 73
opposite. and matching on your feet, and working in actually protect the skin from the makeup
environments that require you to be time Coverage. foundation by putting a barrier between the
sensitive. You will be doing a practical foundation and skin. This will lessen the
SPECIAL FOUNDATION NEEDS color analysis of the skin by testing the breakouts for sensitive or allergic skin.
Nancy explains that sometimes a person’s foundation on the skin at the jawline to see Silicone primers also fill in enlarged pores,
skin color presents a special problem. For if it matches with the face and the neck. Ingredients are another important factor in acne scars, fine lines, and wrinkles. Primers

FOU N D A T IONS
example: You will be draping your actor with a choosing what foundation to use on the come in violet, green, pink and yellow tint.
barber’s drape or hairstylist’s cape. They various different skin types you will These are great to help even out undertones
• Someone with rosacea needs help
come in several colors, but most Makeup encounter. Water-based, emollient-based, on skin that does not need heavy concealing.
managing redness.
Artists use black. If the actor is wearing and mineral-based products are all Industry All primers are applied before the foundation
• Someone will naturally have so clothing in a color that is not suitable for Standards and should be part of your kit. In with a sponge, brush, or hands.
much golden (yellow) tone that they look the color palette designed for the project or today’s industry, skin care has become very
sallow. is not good for their skin tone, the drape or important. People pay close attention to the Some examples of industry primers are:
cape will help you neutralize this problem care and condition of their skin and the ColorScience, Laura Mercier Foundation
• Some skin tones have an almost greenish
and let you see how your color choices are products that work best for them. You will Primer, LORAC, Paula Dorf, smashbox, and
hue that can actually appear unhealthy.
working with the individual’s skin tone. need to stay up on the latest in skin-care YSL.
Here are some techniques: treatments, products, and ingredients.
FOUNDATIONS AND PRIMERS Note: If you apply primers, foundations,
If a person has very red skin, find a
blush, and so on with your hands, you must
foundation that matches the neck (which is Makeup foundation’s cosmetic purpose is to
wash your hands thoroughly with soap and
usually much less red), and begin by adding even out skin tone, hide fine lines, and
water before and after. Hand application is
mint green to it. The color of the foundation provide a base on which to apply makeup. PRO TIP
controversial in the film/television world;
will begin to look dull, but when applied to Foundations also provide added moisture to I encourage everyone to promote their own not so for print. Many Makeup Artists
the face, it neutralizes the unwanted color the skin, protect from the environment, skin care at home so that we may begin with believe it should not be done under any
and gives a calmer, less red appearance. and, with some products, provide a light a proper surface. circumstance, that it is unprofessional and
sunscreen. —Richard Dean
For someone who is overly yellow, adding not sanitary. Of course, just as many
violet to a foundation that matches the Foundation or makeup base comes in a Makeup Artists believe it is a valuable
neck will neutralize the yellow and look variety of textures and consistencies: tinted technique, especially when working with
 liquids. Actors are also split on their Mineral foundations are good with all skin some film and lighting situations that it opaque, and fill in fine lines and scars.
preference—some love it; others prefer no types. Liquids are widely used in the would be too heavy for. It is good for all Fillers can be used on bare skin, under
contact with the skin except with a sponge industry, easy to mix, and do not have to be skin types, but best on dry skin. It should makeup, or over makeup. Mattifiers take
or brush. If you are working as an powdered. be set with powder. down shine, and are great for bare skin,
additional Makeup Artist for crowd scenes, bald heads, and prosthetics.
Industry Standards: Armani, Bobbi Brown, Industry Standards: Black Opal, Bobbi
hand application is not practical because
Chanel, Clinque, Estée Lauder, Iman, Brown, Cinema Secrets, Gerda Spillmann, Industry Standards: Make-Up International
you have too many people to make up.
M•A•C, Make Up For Ever, Revlon Iman, M•A•C, RCMA, Visiora. Face to Face Supermatte Antishine (comes
ColorStay, Visiora. Powder Foundations: Are great for the in Light, Medium, and Dark), Lancôme Pure
FOUNDATIONS Focus T-Zone.
Mineral Foundations: Are great for two-for-one application. They give a flawless
The most popular foundations in the
sensitive or acne-prone skin. There are matte finish. Apply with a dry sponge or Try: Benefit’s is dr. feelgood for smoothing
industry are tinted moisturizers, liquids, and
fewer ingredients, and because the minerals makeup brush. For more coverage, use a and filling in under or over makeup.
cream-based, water-based, emollient-based,
are inert, they will not support bacteria. damp sponge to apply. It’s not for every
and mineral-based foundations. You will
74 They are great for people with allergies and skin type, and works best on oily or acne- CONCEALERS 75
need to have all of them in your kit, with a
sensitive skin, as well as rosacea. Mineral- prone skin, but also works well for normal
good selection of colors for mixing and Concealers even out skin tone, and cover
based makeup gives long-lasting coverage or combination skin. It’s great for quick
matching. This will allow you to handle any blemishes, scars, bruising, discoloration, and
that does not settle into fine lines or irritate solutions when there is no time, on set
skin tone and type. Cake and stick circles under the eyes. They have a thicker
the skin. They should be applied with a touch-ups, or for fast application of color.
foundations are also used, but not as composition than foundation, and are
sponge or makeup brush. They are available It’s also good in humid conditions.
readily, though they are also found in most available in cream, stick, tube, pots, and
in liquid or powder form. They offer broad- Industry Standards: Lancôme Dual Finish,

FOU N D A T IONS
makeup kits. liquid. Sometimes a concealer is the only
spectrum UVA and UVB protection, and are M•A•C Studio Fix. product a Makeup Artist needs to even out
Tinted Moisturizers: Are the sheerest or water resistant, and contain no talc or
Cream to Powder Foundations: Are good someone’s skin tone (see “Spot Painting” in
lightest of coverage, when you do not need parabens. They are not tested on animals.
for most skin types, but great for Chapter 7). You will also use concealers on
a lot of correction. Tinted moisturizers will
Industry Standards: Bare Escentuals, combination skin. They should be applied the body to cover any unattractive marks,
even out skin tone, and can add just a hint
glominerals, Illuminaré, Jane Iredale, with a dry sponge. bruises, or scars, or to cover tattoos. For the
of color if needed. They are great on men,
ColorScience. face and body (not the eye area), concealers
or when you need just a hint of added color Try: Benefit’s some kind-a gorgeous, Vincent
with a high pigment are best for
on good skin. Cream Foundations: Usually come in a Longo Water Canvas Creme-to-Powder
camouflaging because they provide complete
compact or stick (pan stick). They are Foundation.
Industry Standards: Laura Mercier Tinted coverage and last longer. You need to blend
wonderful on all skin types and provide Cake Makeup: Comes in the form of a
Moisturizer, Stila Color Tinted Moisturizer. the concealer well into the skin so that it
excellent coverage. Cream foundations are “cake” and is usually applied with a damp disappears, especially if you are not using a
Liquid Foundations: Give a sheer overall widely use in all media, and are easily sponge. It gives a matte finish. The sponge makeup foundation on the skin. You can
coverage that looks natural, and are easy to applied with a sponge or brush, providing should not be wet, but damp to get a apply concealer under or over makeup
apply with a sponge or brush to get a overall coverage with a rich texture and smooth finish. It is used extensively for foundation.
smooth finish. They are good for all skin deep tone. You can achieve different finishes stage performers for face painting, clown
types, and are available in water-based, with cream foundations: sheer, more makeup, fantasy, and body makeup. Note that concealers are designed to be
emollient (hydrating), and mineral-based coverage, and layering over a liquid for even applied over the foundation if you are using
Industry Standards: KRYOLAN, Mehron. a liquid or cream base. If you are using a
formulas. For oily or sensitive skin, use a more coverage. Layering over a liquid gives
water-based foundation. For dry or mature you a beautiful and flawless finish, but Fillers and Mattifying Products: Are great powder or dry foundation, apply the
skin, choose a hydrating foundation. because it is more product, there could be to use on bare skin. The fillers are clear or concealer underneath the base. With the
 exception of dry foundations, most Makeup properties. A stick concealer offers more
Artists do both, under and over, when coverage but is more difficult 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 difficult camouflage 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
76 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 film 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

FOU N D A T IONS
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 first. 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 definition (contour).
What are highlights and contours, or
highlights versus shading? Highlights are
FIGURE 6-3: FOUNDATION COMPARISON CHART BY MARY ERICKSON AND SUZANNE PATTERSON
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
 to any area the Makeup Artist wants to sink HIGHLIGHTS dark. Chiaroscuro, an Italian term literally Cream to Powder: Cream eye shadow that
or set back. Although the face has shape The correct colors to use for highlights are meaning “light-dark,” originated as a term dries to a powder finish. Can be worn alone
and depth, there are certain lighting important. If the highlight color is too light for a type of Renaissance drawing on or layered.
situations that can turn the face flat. The or too heavily applied for all media (film, colored paper. The artist worked from the Gel: Found most often in pots, gel products
more of a three-dimensional effect that the TV, HD, print, and theater), your work will base tone toward light and dark. It is also a are used as eye shadow or eyeliner. They
Makeup Artist can achieve, the better the be seen as heavy-handed. Highlights in off- term used in makeup to refer to blending are quick drying, easy-glide application, and
makeup will be. That said, there is nothing whites, cream, pinks, gold, yellows, or any from light to dark for a three-dimensional, long lasting. They can be used in
worse than an overdone look when the color that is a few degrees lighter than the seamless effect. It is very helpful for all combination with other eye shadow
Director has requested a no-makeup look. skin tone that you are working on will work applications of makeup to learn chiaroscuro. products. Gels also come in glosses that dry
best—except pure white, which in most You use subtle graduations of color in light to a shine that gives the eye shadow an
With blending, you can create beautiful,
situations is too harsh. Remember what you and dark shades to enhance the delineation appearance of being wet.
flawless makeup using highlights and
learned in Chapter 3—that white mixed of character for dramatic effect. Remember
contours with no one being able to see the Liquid: Liquid eye shadow generally comes
with another color is a tint, so you can be to blend to the end.
makeup. There are many Makeup Artists in a tube, usually with a wand or brush
78 79
who either highlight or contour, but not as creative as you want to be.
attached.
both. Think about it. If you apply a lighter
CONTOURS Loose Powder: Comes in jars. It can be
shade, for example, on the top of the PRO TIP
used wet or dry. Products are highly
cheekbone, you will automatically create a Shades of darker makeup from blushers to Any makeup can be bold as long as it is well concentrated with color. They can be used
sink or shadow right below there for your pigments can be used depending on what blended. alone or layered in combination with other
contour. The same can be said of the type of makeup you are creating. Good —Gerd Mairandres, Wigmaster, eye products. They are messy—the loose

FOU N D A T IONS
opposite. If you apply a contour or shade, colors are brownish pinks, reds, grays, San Francisco Opera powder tends to “float” everywhere. If using,
for example, in the temple area, you will oranges, and again any shade that is a few
do the eyes first, foundation last, to prevent
create highlights on the top cheekbone and degrees darker than the skin tone you are
shadow from dropping onto the foundation.
outer upper brow bone. We’ll go into more working on. You should never use pure
details with the charts on what colors work black to contour. Remember, if you go back Note: Chiaroscuro is also a term used in Pencils or Pens: Are highly pigmented,
well for both highlights and contours. In the to Chapter 3, you’ll see six examples of cinematography to indicate extreme low-key frosty or sheer. Some formulas are
long run, it is important for a Makeup Artist mixing color to get neutral darks, and color lighting to create distance areas of light and waterproof or water resistant in small or
to learn facial structure and to recognize the pigments to make browns. darkness in film, especially black-and-white large pencil form. You will need special
importance of where lights and darks fall on film. sharpeners for these.
the features of the face. BLENDING
Pressed Powder: Are usually in compact or
Blending is the art of applying makeup MORE ABOUT PRODUCTS drop-in disks to customize your eye-shadow
using your tools to achieve a smooth, palette. It can be used wet or dry.
Eye Shadow
seamless finish with no visible line or hard
Cream Shadow: Cream eye shadows are Waterproof Eye Shadow Products: Are
PRO TIP edge. A skillful balance of strong or not-so-
used alone or with other eye shadow usually found in jars, tubes, or pencil form.
strong colors can be blended together
Forward planes catch the light. Recessed products. They can come in tubes, pots, They contain a polymer ingredient. They are
without seams to create contrasts or
planes recede. wands, and compacts. Cream eye shadows formulated to not crease or fade.
dramatic effects.
—Gerd Mairandres, Wigmaster, can have a dewy, glossy, or frosty
San Francisco Opera In painting as well as in theatrical makeup, appearance, depending on the product. Eyeliner
the technique of chiaroscuro is used to Some are formulated to be waterproof or Cake: Applied with a brush that is damp.
create a bold contrast between light and water resistant. Cake eyeliner is great for smudging. Cake
 products usually come in compacts or jars, and lengthen. They are usually made out of lips. Some are water resistant and oil free. creating “period” looks. Matte lipsticks are
and are creams or powder formulas. nylon fibers. They can be used alone or combined. long wearing because they are so dense.
Gel: Used like a liquid or cake, but is easier Top Coats: Applied to the eyelashes after Frost: Comes in lipsticks, pots, gloss,
to apply. It is long lasting. Gel is applied mascara, they are used to add sheen and Eyebrows and tints, with different levels of frost or
with a brush and usually found in jars. vibrancy to the lashes. They can also be Cake: Powder form, pressed or loose, and glitter.
Liquid: Adds drama to your look, and a used as a sealer for the mascara. come in jars, compacts, and pencil form.
They are the easiest and most natural way Gloss: Sheer formulas with high gloss or
must for many “period” looks. It is applied Primers: Act as moisturizers for the
to define a brow. Cake eyebrow definer is wet look. Gloss lipsticks can be used alone
with a brush and is quick drying, but needs eye, and also prepare the lashes for
most often used with a stiff eye brush. It or in combination as a top coat to the lips.
a very steady hand. “Painters” work well mascara. They are helpful in creating a
with liquids. can be wet or dry. Treatments: Balms, conditioners, and
longer look and in protecting the eyelashes
Loose Powder: Highly pigmented powder from mascara. Remember to apply first, Gels: Usually transparent, but are available treatment sticks for the lips. They are
that can be used wet or dry. Use a sealer on before mascara. in tints. Gels can be used alone or after available with sun protection, natural plant
top for longer wear. Loose powder can be brow color has been applied. They dry extracts, vitamins, and moisturizing
80 Tinted: Colored mascara, usually in tubes. 81
messy. quickly, are often waterproof, and hold the properties. They soothe dry lips and can
Waterproof: Smudgeproof, creaseproof, and brow shape in place. come in tints. They may be used alone or in
Pencils: Easy application and blending.
quick drying. You must have correct combination.
They can be formulated in waterproof and Pencils: Eyebrow pencils have an extra-hard
mascara remover in order to take off
water-resistant products, and come in frost, point for drawing, shaping, and filling in Lip Scrubs: Treatment products to exfoliate
waterproof mascara. Primers can be used
kohl, and matte, with either a fine point or brows. They are very pigmented, and come the lips (get rid of dry skin).
first, for ease of removal.
thick. in assorted colors, and can be used in

FOU N D A T IONS
Lip Plumper: Contains ingredients for
Sealers: Products used to protect any eye combination with other brow products. plumping the lip area. Sometimes there is a
Blushers
shadow or eyeliner from smudging, tingling sensation when applied.
Cream Blush: Can be highly pigmented. It Thickening: Eyebrow thickeners are like
smearing, or lifting. Sealers are usually
can be used alone or with other products. mascaras for the eyebrows. They have Lip Wax: Wax formula used before lipstick
found in liquid form, and can be mixed
Formulas come in cream to powder hairlike fibers that are suspended in the application to fill in lines and wrinkles. Lip
with eye shadow (or product) in the
finish. Cream blushes come in jars, formula to add volume and coverage to the wax also preps the lips for lipstick.
application (think watercolors).
compacts, sticks, and liquids. brows.
Lip Liners: Come in pencil, pen, or stick
Mascara Pressed Powder: Can be used alone or in Wax: Used to shape, enhance, or fill the form. They are used to reshape and enhance
Cake: Is applied with an eyelash brush or combination with creams. It comes in a brow while holding the brow shape. It the lip line before lipstick application, and
small fan brush. Cake mascara and a fan wide range of textures and formulas in comes in different colors and can be can be used alone with a lip moisturizer
brush gives you a thorough coat on the compact form. It is great for “on-set” combined with other products. (like a tint) or in combination with all lip
lashes, with no “clumps,” and works great touch-ups because it is pressed and not products.
to get the base of the lashes, particularly on loose. Lipstick
light or blonde lashes. Loose Powder: Comes in a wide range of Cream: Contains moisturizing properties
Websites and Addresses
Clear: Comes in tubes and is applied like textures and formulas. It can be used alone and is highly pigmented. Cream lipsticks go
Frends Beauty Supply, www.naimies.com
regular mascara. It gives a nice sheen to the or in combination. on smooth, and some contain sun
lashes, and helps to show off definition and protection and vitamins. They come in Nancy Tozier, Take Up Cosmetics
Tints and Gels: Found in creams, gels,
length in the “Natural Look.” matte, shine, and frost formulas. www.sephora.com
moisturizers, and liquids. Tints and gels are
Fillers: Are found alone or combined sheer translucent in color. Many are made Matte: Lipstick that is flat with no shine. It Suzanne Patterson, www.creativeartistryfx.
into the mascara formula. They thicken to be an “all-in-one” product for cheeks and tends to be very pigmented. It is great for com
 Basics

7
Beauty And

© MARY BIRCHLER DESIGNS

 At one time it was critical because of the work. We will cover the testing of looks in What is natural to one person is over-made- Retail cosmetic counters also offer a chance
nature of lighting and film technology, as Chapter 8, “Design.” up to another. In the beginning of your to gain experience with a wide variety of
well as theatrical custom, to eliminate as career, this is one of the more frustrating skin tones, facial structure, and vanity, but
Within one day, a Makeup Artist could do
much detail of the actor’s face as possible situations: unclear communication about you will experience doing only “symmetrical
any number of different makeups—for
and to draw in, often almost cartoonishly, the makeup. It is subjective and at times beauty makeup,” which is not always
example, a beauty makeup, cover an actor’s
those features meant to be seen. As film difficult to communicate what a look should applied in film.
tattoo, break a nose, apply a tan or sunburn,
stock and lighting became more forgiving, be. With experience comes the ability to
add 10 years to a character, apply a five The camera loves irregularity. It
and “reality,” rather than “theatricality,” assess the situation and decipher what is
o’clock shadow, or give the “homeless extra” photographs well, so we do not necessarily
became the accepted convention, beauty being requested. There is also time during
the grime needed to sell the look. (An strive for symmetry in film (see Chapter 8:
makeup has, too, evolved to appreciate a the prep pause of a job for understanding
“extra” is a background actor, sometimes Design).
more naturalistic aesthetic. what is needed. Prep is the period prior to
referred to as a “background artist”; these
—Richard Dean, Makeup Artist filming, shooting, or staging when you have Makeup Artists use their artistry on the skin
actors play a supportive but integral role in
initial design discussions and even “test the to create, but we do provide a service. We
filmmaking, and need to have the same
84 Your imagination and your knowledge of makeup looks” (see Chapter 8: Design). care for the person’s outer look or character, 85
attention to detail as a principal actor.)
shapes, the body, color, and lighting enable and in some situations for the person
Take any opportunity to hone your talents
you to paint with endless possibilities. In himself or herself, and that person’s skin.
and skills for all skin tones and types. The
this chapter, we will start with the basic We care for the looks we create and the
more faces you do, the better you will be. A

BA S ICS
skills and makeup applications that a We have our own slang in the makeup person we paint on. Maintaining the look of
great opportunity is working “the line,” or
Makeup Artist uses every day. We want you world. Makeup artists often refer to “a the character takes place over the length of

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“bull pen,” for a film or opera company.
to excel in the basics before moving on to makeup” or “the makeup” when speaking the film or project, one day or several
You are one of many Makeup Artists
more advanced makeup applications and or referring to a colleague. They are refer- months. Film and TV have long days: 12-
painting for the crowds, and you have little
designs. This is why we started the book ring to the specific look that is being done: plus hours per day—with 13 to 14 hours
time to do it in. This exposes you to so

BE A U T Y
with the more technical aspects of makeup. a character or design of makeup. Example: per day being normal, and the possibilities
many faces and corrective situations.
In order to have the background needed to “The makeup looks muddy.” “Muddy” is of going 18 to 19 hours per day.
move forward and excel, you need to unclean, not blended well, uneven appli-
Makeup applied in the morning needs to
understand all the elements and aspects that cation (not good), and “the makeup” is
PRO TIP be maintained and many times reapplied
affect your work. To make up the whole, the finished application of the artist.
thoroughout the day. It can be grueling
you need all the parts. We will note I take one summer job in NYC each year
and exhausting, but, we hope, creatively
“Industry Standards” throughout this during my time off from the Met to hone
fulfilling.
chapter and the rest of the book for you to my skills at cranking out full makeups in 10
It could also be a day about creating natural
know and recognize. These are products to 15 minutes, recalling my early days on With film, there is a beginning, a middle,
looks that seem organic without the
that will be found in every makeup kit. “the line” at San Francisco Opera, where and an end to the story, with the character’s
assistance of makeup. You need to develop
Brand and name recognition are important we were trained to complete a full makeup movement (and makeup) throughout. In
a subtle eye and hand for the realistic looks.
to the industry. Once you know that a (on choristers and supers [supers are stage TV, there is a continuing story line, with the
Believability to the eye is key. It is requested
product works, photographs well, and does “extras”: nonsinging background artists]) same character movement (and makeup)—
in all media, for all ages and genders, and
not cause skin irritation, you will rely in 8 to 10 minutes. just a much longer, and sometimes
is a frequent request by all Directors,
on that product to always work for you —Steven Horak, Makeup Artist, seemingly unending, story line. Print shoots
Producers, and clients.
when there is no time for discovery, Metropolitan Opera House, New York City have a shorter day—8 hours is the norm—
experimenting, or testing. Industry Understanding the many different creatively driven by the Photographer, Art
Standards are trusted and proven—they interpretations of makeup is also important. Director, and the client. On some exterior
 location shoots, they will split up the day: develop a skin-care routine that works best The last group of Makeup Artists falls in nonirritating cleanser—for example,
shooting in the morning sun, take a break for the individual. Many times you need between the two other types. This group Cetaphil Gentle Skin Cleanser. Cetaphil is
from the midday sun, and start shooting several weeks to correct skin conditions—it will have knowledge of skin care and will a gentle facial cleanser that does not strip
again in the late-afternoon sun. Stage cannot be done in a day. This group of take the time to be current in products and the skin of its natural pH balance; it is an
productions can have long hours in their Makeup Artists will expect the individual to treatments for the skin, although they may Industry Standard. Using bottled water,
rehearsal schedule: 10- to 12-hour days— maintain their own daily routine of skin or may not be licensed aestheticians. They if a sink is not available (trailer water is
this is the rehearsal and prep time before care and cleansing. They will expect them to will prep, tone, moisturize, sunblock, and nonpotable, not recommended for the
opening the show. Once a stage production show up to work ready for makeup sometimes apply masks. They probably will mouth, face, or eyes), wet the washcloth
has “opened,” the show calls vary between application, having already applied their do cleansing at wrap. It has become and put it in the microwave for one to two
three and five hours per call (or show), with products at home, which gives the proper common to see a professional towel caddie minutes. If the towel is too hot, allow it to
one day per week as a maintenance day, time for absorption. For this group, the care on the counter in makeup trailers (towel cool before using. This is the simplest and
where you start work earlier to do repairs of the skin is the individual’s responsibility caddies keep wet towels warm for cleanup). safest way to cleanse the skin. Washcloths
and maintain the show. Some days have and that of their dermatologist. All the groups of Makeup Artists work with are a fantastic way to remove makeup and
86 two show calls: matinee and evening sunblock. We have a responsibility to clean the skin without harm. There are also 87
performance. Theatrical productions work There is another group of Makeup Artists protect the skin in exterior locations. Your makeup-removal wipes. Choose one without
six days per week. Opera schedules are who are also licensed aestheticians (the choice of involvement will become your alcohol (alcohol is drying to the skin). Wash
continuous throughout their season, with study of skin care). This group of Makeup working style, and should be based on your your white towels in warm or hot water

BA S ICS
every opera house maintaining a different Artists will be more involved in skin care. beliefs and education or knowledge of the with bleach for sanitation.
“season.” Try all media available to you. It is As the style of filmmaking, technology, and skin. We do recommend that, regardless,

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great experience, and helpful in deciding surgical procedures advances and increases, you take the time to keep current with
where your talents, personality, and so has the trend for arming oneself with skin-care trends and makeup products
PRO TIP
intuition work best. skin care knowledge. This group of Makeup throughout your career. If you do choose to

BE A U T Y
Artists will recommend products and prep make skin care part of your working style, Be careful with alcohol-based toners.
THE SKIN The alcohol strips the skin of its natural
the skin before makeup, as well as cleanse please note that it adds time to your day,
Opinions are divided as to the level of and treat the skin at wrap. (“Wrap” is the and some productions will not want oils and pH balance, causing the brain to
attention Makeup Artists should pay to skin term called by the First AD—Assistant overtime incurred for cleanup at wrap. signal the production of more oil to the
care. There are three types of Makeup Director—at completion of the day’s surface of the skin in an attempt to bring
Artists when it comes to skin care. There filming.) These Makeup Artists believe in back the balance to a “normal” pH. pH is
are Makeup Artists who believe that skin being proactive in the care of the skin, and PRO TIP the relative degree of acidity and alkalinity
care should be left to the individual. These diminishing breakouts as much as possible of a substance. Don’t dry the skin out!
Anything glued or applied to the face, neck, or
artists believe it is up to the individual and/ or correcting dull skin. Acne can be —Joel Garson, Milady’s Standard
body by a Makeup Artist that needs a solvent
or their dermatologist to care for the skin, diminished by makeup, lighting, and filters Fundamentals for Estheticians, 9th ed.
to remove must be removed by the Makeup
reasoning that it takes time to correct skin on the camera, but with a 40-foot screen, Department. The time it takes to remove is “on
conditions and develop a proper skin-care dimensional imperfections are hard to hide. the clock” (official time of payment).
regime, which needs to be done morning (If shooting digital, there can be correction
and evening. Some products need to be in “post” or the final product.) Clear skin THE SETUP
absorbed completely before applying is always the optimum, and this type of In order to get started, you need to “set up”
makeup (so done at home before work), Makeup Artist has the knowledge and There are actors and individuals who will your workstation with the proper products
and in some cases, treatment products background to work toward the goal of request and prefer that the makeup is and equipment. Every workstation varies
should be used only at night before bed correcting skin problems to achieve smooth, removed at the end of each day. Have a with each Makeup Artist, but there are
(retinols). It takes time and money to clear skin. supply of clean white washcloths and a Industry Standards for setting up your
 station, with station setup and products that cleaner should be out and within easy face and around the eyes. There will be
will be consistent from one Makeup Artist reach. times when you do not have running water,
to another, no matter whose station you are and you will rely on your canned spray PRO TIP
Note: Alcohol is not an EPA (Environmental
looking at (Figure 7.1). water for a clean source of water. There are a million ways to do anything.
Protection Agency)–registered hospital-grade
Having your station set up with the proper Find the one that works for you.
disinfectant. Grooming equipment: shaving powder,
tools, equipment, and products, clean and —Randy Huston Mercer,
Tend Skin (Industry Standard), electric
ready to go, instills confidence in the A typical setup for a makeup station is a New York Makeup Artist
shaver, sideburn trimmer (Industry
individual who sits in your makeup chair. clean cotton terry towel (colors vary; many
Standards: Wahl, Panasonic), clippers
This is one of the first moments of critique prefer white towels only because you can
for beard trimming (Wahl), small hair
when working with new people. They will bleach them) placed on the counter in front
scissors for trimming, nose-hair trimmers CONCEALING AND CORRECTIONS
look at your station, your products, and of you with a Professional Prep Towel on
(Panasonic), disposable shavers, shaving Mastering the art of concealing for all skin
how your kit is set up. Your makeup kit top of the cotton towel (Kimberly-Clark
cream. tones and skin types, such a vast variety,
should be clean and organized for sanitary Professional Set Up Towels are the Industry
88 Standard). This is a sanitary setup to keep will come easier to you now that you have 89
reasons and ease of movement during a Nail care: nail clippers, cuticle trimmers,
your products and brushes off the counter, studied color theory and foundations.
makeup. Some artists keep their makeup kit nail files and orange sticks (do not share
on the counter next to them. You will be clean and germ free. Your makeup palette, You will use color theory to cancel out reds,
nail files/or orange sticks—buy in bulk and
quickly judged on the condition of your tools, and brushes would go on top of this blue, grays, greens, and any other unwanted

BA S ICS
give out), cuticle remover, cuticle cream,
makeup kit. Your products should be two-layer setup. Clean your station, makeup color or undertones in the skin, as well as
hand cream, base coat, top coat, quick-dry
brushes, tools, and hands in between each

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current, in good condition, with all spray, various nail polish colors, non- blemishes, scars, birthmarks, and tattoos.
batteries fully charged or plugged in. The person. Make sure to have a garbage can or Concealing can be done under or over the
acetone polish remover.
strength of alcohol must be 99 percent to be bag close by for disposing of garbage. Also makeup foundation or base, except for
effective. Makeup brushes, makeup palette, have a cloth drape or barber’s cap for Kleenex facial tissue, cotton facial pads birthmarks, port-wine stains, and tattoos.

BE A U T Y
and tools should be clean and ready. Hand protecting clothing or costumes during (cotton only, due to possible allergies to These require full coverage, and should be
sanitizer (99 percent alcohol) and brush makeup. Cloth drapes are more comfortable synthetics), Q-tips, cosmetics Q-tips (the done first.
for the individual, but, depending on the tips are different, made for applying
makeup you are doing, also have a plastic makeup), your makeup brushes, makeup
drape available. Plastic is hotter for the products, and cosmetics. PRO TIP
individual.
Note: this is a very basic setup. Every Corrective makeup is a fine convention if
Sanitizing products: 99 percent alcohol in a it is used realistically in the company of
Makeup Artist personalizes their station, so
spray and dispenser, small bowl or jars for great lighting. Makeup does not generate
no two look alike, but they will have some
cleaning brushes, hand wipes, gel hand light. Makeup only reflects existing light.
of the same products/equipment or Industry
sanitizer, spray water. Makeup cannot get rid of eye bags if they
Standard products.
cast a shadow. Makeup cannot light an
Industry Standards: Evian Mineral
It is time for practical experience with eye socket if it is in the dark. Makeup can-
Water Spray, Glacial Spray Water, La
applying makeup. For some of these not disguise pockmarks in a side light.
Roche-Posay Thermal Spring Water, Jao
makeups, you will not be given steps —Richard Dean, Makeup Artist,
Hand Sanitizer.
FIGURE 7-1: DEBRA COLEMAN’S MAKEUP STATION to follow, just text. For others, you will New York City
Photo courtesy of Debra Coleman, Makeup Artist and
Canned spray water is a preference. It is a be given steps. Time to think, and
member of Local 706, Los Angeles.
source of clean water for working on the paint.
 For under-eye concealing, choose a product dependent on how much coverage is Moisturizers). This is also a great choice for Blend down past the jawline under the chin
that is emollient and designed for the eye needed: (a) if just two layers are needed, men and children. An alternative is to mix a area. You want to avoid any lines of
area. These products are lighter, more your second layer is a matching flesh tone, small amount of oil-free moisturizer (try All demarcation or “the mask” look to the face.
emollient, and many have reflective qualities or (b) if three layers are needed, your You Need+ from Prescriptives) with your
Once the skin is looking healthy and
that are great for diffusing fine lines around second layer is a mauve (red) or orange tone liquid or cream base. This will give you a
vibrant, you need to add color to the
the eye. They glide smoothly onto the to cancel out any gray bleed coming sheer coverage that does not look overdone.
cheeks, and bring attention to the eyes, lips,
delicate skin around the eye. The least through from the first layer. Many times If you need a bit more coverage, use a liquid
and eyebrows. For a natural blushed effect,
amount of tug and pull or stress from there will be a gray bleed or tone coming or cream without mixing moisturizer into it.
place cheek color in the apple of the cheeks,
application, the better. Do not set with through the correction. You will see it with In situations where the actor’s skin is good
either cream or powder. Reds, pinks, and
powder. Avoid using powder under the your eye and in the makeup mirror. In and does not need a base or foundation, use
peaches are best.
eyes, which can be drying and may these situations, you need three layers of the “spot paint” technique to balance out the
emphasize the correction. color. Your second layer will be to skin tone. Spot painting is the technique of
neutralize the gray, and your third layer is literally painting with makeup or concealer
90
Industry Standards: Kanebo, YSL Touche the flesh tone. This is 100 percent coverage just the area or “spot” that needs it. Do not PRO TIP 91
Éclat, Iman, Laura Mercier, NARS. for those situations with intense color (port- overapply or bring the makeup too far into “Always put blood back into the face after
For concealing or correction on the face, wine stain) or ink (tattoo). These products the surrounding area of skin. You want to completing a makeup.”
choose a product that is medium weight. are 100 percent pigment. They are not paint just the specific spot. KRYOLAN’s Taught to Steven Horak by

BA S ICS
Note that all types of concealers (light, sheer, and are designed for camouflaging. Dermacolor (an Industry Standard) Lenna Kaleva, Cincinnati
medium, or dense) will work on the facial works well with spot painting. It is

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Try: Dermacolor by KRYOLAN and
skin—it depends on what you are covering. noncomedogenic, and gives you dense, full
Dermablend.
Your style and what you have to cover coverage (camouflage) that you can feather
will help you choose the product and NATURAL MAKEUP or blend the edges with your makeup brush.
Bringing It “Back to Life”

BE A U T Y
application, under base or over base. The Set with just a hint of powder: not too much,
and Keeping Makeup From
severer the discoloration, the more need to or the area will look dry. You can forgo the
Looking Too Masklike
use a denser product or 100 percent powder if needed, but you will have to
Simplicity is the ultimate sophistication. “Bring it back to life” is another makeup
pigment for camouflaging. reapply or touch up if you do not set the
—Leonardo da Vinci slang term you will hear to refer to almost
makeup. Use Face to Face Supermatte
For birthmarks, port-wine stains, and Antishine by Make-Up International (an all makeup applications. If something is
tattoos, you will need a two- to three-layer Industry Standard) to take down any shine looking dull or lifeless, you will be
process for complete coverage. This is done When the character needs (or the Director on the other areas of the face. For more tips instructed to “bring it back to life.” This can
before applying a makeup base. This requests) a “natural look” for makeup, you on spot painting see “Spot Painting” later in happen with concealing as well.
layering of color allows you to cancel out want to show good health and appearance. this chapter. Next, accentuate the eyes by adding any
color completely, without any bleed- You will spend most of your time enhancing needed definition without doing a full
through. Sometimes a color will bleed up the skin tone to show good health. Correct Remember to match the foundation or base beauty makeup. Choose soft browns,
through the cover-up, usually in a gray any discoloration, cover any scars or to the skin at the jawline. This helps to taupes, or gray to define the lash line using
undertone. You will use the stipple blemishes, and make the skin look healthy balance the tone in the neck and face so pencil or powder. We do not suggest liquid
technique to apply color over each layer. and vibrant. Remember to strive for realism. you are working with as little product as liner for the “natural look”—your hand
For your first color, use the opposite color A tinted moisturizer works well in this look possible—remember, this is the “natural needs to be very skilled. Place the line right
on the color wheel to cancel out the to even out the skin without looking like look.” The skin on the face is much on the base of the eyelashes. Remember,
discoloration. Your second color is makeup (try Laura Mercier Tinted different in tone and texture from the neck. you are defining the natural line to add
 definition, not doing eyeliner, so you do not get beautiful lashes without too much unwanted marks are painted out with a
want a thick line. product (We Recommend Brush Up With concealer, Dermacolor, Stacolor, or even
Trick: use the “dot method” by placing dots Barbara). Remember to apply mascara to foundation. The product you choose
of color into the lash line, both top and define the lashes, but not make them look depends on what is to be covered. Spot
bottom, instead of drawing a line. By coated. painting is a part of concealing and
dotting in color, you create the illusion of correction, but in this case, we use it to
Bring subtle definition to the eyebrow by replace foundation or base.
a greater or stronger lash line without
grooming the eyebrows and, if needed,
noticing the liner. This technique works Example: You are instructed by the Makeup
adding a touch of color for shape and fill.
excellently on men. Department to “just spot paint” your actor.
Care must be take when adding color to the
FIGURE 7-2: They do not want makeup base applied.
If you decide a bit of eye shadow is needed, brows in the “natural look.” Use short
brushstrokes (or pencil strokes) in a 45- They want you to just spot paint correction
use a lighter color all over the lid in creams,
degree angle for similar hair growth. Trick: on clean skin, and only in the needed areas.
beiges, and pinks to even out the lid. Choose
paint the eyebrow hair instead of painting This is widely used on men, children, and
92 soft browns or taupes in the eye crease. 93
the skin in this look. Using a mascara wand, for all situations where you do not want to
Again, a very subtle hand is needed. Curling
apply color directly to the hair and not the see any makeup. It has become an Industry
the eyelashes adds length without too much
skin. This is great on men. It will not work Standard.
product (Industry Standard: shu uemura),

BA S ICS
and use mascara if needed. Clear mascara is on someone’s brow that is in need of filling Stacolor and Reel Color can be used in spot
also a great choice if the lashes are already because of lack of hair. painting when the makeup needs to be

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long. If a brown or black mascara is needed, waterproof, sweatproof, or friction resistant.
Try: Roux (Tween Time) Stick by Revlon, Like necks so color does not come off on
apply a thin coat with a mascara fan. Mascara
Stacolor, Reel Color. Taupe and soft browns shirt collars.
fans are great for this look—you have more
work well and do not photograph too dark.

BE A U T Y
control over the application and can really Working with the individual’s clean
Medium to dark browns will photograph
darker than they appear to the eye. Too skin, apply a sunblock first if working
much in this look, and your makeup will outdoors, concealing only where needed,
not look natural. and matching the concealer to the skin tone.
PRO TIP The concealer or makeup is concentrated
Dispense mascara onto artist’s wax paper. Keep the mouth looking healthy by using FIGURE 7-2A
only on the spot or area that needs
Using the wand from the tube of mascara, just enough color to blush the lip. Use lip correction. Blend or feather out onto the
pull off mascara onto the wax paper. This stains, tint with a matte or sheer lipstick, or skin, being careful not to overpaint or bring
allows you plenty of product to do both use a lip pencil with a lip moisturizer to get the edges too far onto the surrounding skin.
SPOT PAINTING
eyes by using disposable wands or a mas- the color and attention needed without You just want to paint the specific spot.
cara fan, and keeps the tube of mascara looking too “lipsticky.” There should not be If the actor’s skin tone and condition are Dermacolor (by KRYOLAN) works well with
sanitary. too much gloss for this look. Do not use lip good, then no foundation or makeup base is spot painting. It is noncomedogenic, and
gloss or heavy shine on men or children. needed in the “natural look.” Instead, you gives you full coverage (or camouflage)
No double-dipping of the wand into the
Keep the focus on giving the individual the will choose to “spot paint” the face and not that you can feather or blend onto the
tube! Disposable wands come by the
appearance of good health. Your technique apply a full application of foundation or surrounding skin with your brush. Choose a
dozen.
needs to be subtle and clean without the makeup base. Spot painting is the technique makeup brush that is small in size to
obvious enhancement of makeup. Again, it’s of literally painting out unwanted color prevent overpainting. Set the makeup with
the “natural look.” from the face or body. Any spots or very little powder. Too much powder on
 bare skin is dry looking. When spot 1. Prep skin. We want to stress how important it is to Unfortunately some individuals will look in
painting a face, use Face to Face Supermatte 2. With a brush, apply concealer using the master the art of natural makeup and spot the mirror and want symmetry. If you are
Antishine by Make-Up International (an opposite color on the color wheel to painting before moving on to beauty working on a film, sometimes a gentle
Industry Standard) to take down shine on cancel out (neutralize) the discoloration. makeup. Practice on your models, your reminder that the camera loves irregularity
the skin. Because the skin is basically clean, (See Chapter 3: Color.) friends, and family. Practice until you believe will help, but often you will have to
with the exception of the “spots,” do not use it. Take photos and critique your work. accommodate individual insecurity and
3. Layer second matching skin tone color
powder to cut shine. Powder needs vanity. Every situation is different.
on top, over the neutralizing color.
something to stick to, so on clean skin, use
4. Lightly powder. Beauty makeup should accentuate and not
Supermatte Antishine, available in light,
overwhelm. It is not a mask, or unnatural
medium, and dark tones. For three-color application (for birthmarks, In film, beauty makeup is character make- looking. Accentuate the positive, without
You can also use spot painting to correct port-wine stains, tattoos, or gray tones): up. Every makeup begins with the text. re-creating the face. In the beginning of
broken capillaries, blemishes, birthmarks, Makeup is simply one of several languages film, the custom was to blank out the face
1. Prep skin.
and tattoos. used to elaborate and illustrate text. Based and to paint back in the desired features.
94 2. Apply first neutralizing color, the 95
on the text, we make all sorts of decisions: This is no longer the custom or trend.
opposite color on the color wheel to the
the character’s physical well-being, social Reality is the accepted beauty aesthetic.
discoloration.
and financial status, level and condition
If it is obvious to the eye, it is obvious to
3. Apply second neutralizing color by of vanity, and inclination to spend time in

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the camera.
layering or stippling a mauve (red) or front of the mirror.
orange over the first neutralizing color. —Richard Dean, New York Makeup Artist

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We no longer do makeup by the pound.
This cuts any gray that is bleeding up —(See Chapter 8 on Design)
—Randy Huston Mercer,
STEPS TO SPOT PAINTING from the first layer. Inks, gray undertones,
New York Makeup Artist
and intense colors will have a tendency to
It is recommended that you always use a

BE A U T Y
“go gray.” This gray tone “bleeds” up
sunblock as part of your prep when
through the correction colors. You will
working outdoors. Depending on what you BEAUTY MAKEUP
see it with your eye and in the mirror. Cut
are covering, you have a choice of single- Beauty makeup in film and television has
it with a mauve, red, or orange. Beauty does not stop at the face. You also
layer, double-layer, or triple-layer many layers to it. You are accentuating the
applications. 4. Layer the third color in a matching skin have to do necks, hands, arms, legs, and—if
face as well as adding character and
tone over colors one and two. Check needed—the full body. The skin should
Single-color application: background. We will go into more on
your coverage in the mirror. Is the gray appear healthy—in some cases, glowing.
designing characters in the next chapter.
1. Prep skin (if need) for all applications. gone? Bring attention to the eyes, define the
Beauty does not have to mean symmetry for
2. With a brush, apply concealer or 5. Lightly powder. eyebrows, and add color to the cheeks and
film or the camera. The camera and the lens
Dermacolor to the discolored area, lips. The eyes can captivate, and are generally
The stipple technique is an up-and- love irregularity. There will be jobs where
matching to the skin tone. Choose a everyone’s best feature. If you cannot see the
downward motion of application using a you work for symmetry, and an equal
makeup brush that is appropriate in size eyes, the audience loses interest, so eyes play
brush, sponge, or textured sponge. This up- number where you do not. This does not
for the area you are correcting, and an important role in all media.
and-down motion prevents the removal of apply to video, HD, theatre, or to the retail
check to make sure it is blended. Lightly world. These are media that will require
any layers of makeup that are being applied.
powder. symmetry. You will adjust your makeup RICHARD DEAN’S TIPS ON BEAUTY
It is needed in spot painting, character
For two-color application (for stronger color makeup, effects, and prosthetics, but can be designs and application for the medium you 1. Begin with a foundation primer and any
correction): applied to most applications. are working in. eye shadow primer. Apply with a
 sponge. Areas of the face have uneven In beauty makeup, the amount of attention changing eyebrows is a great tool in character
oil distribution, and will accept and hold brought to the eyes and eyebrows will design and altering a look. The level of
foundations irregularly. A primer will depend on character and situation. There is intensity and style of the brows will come
have moisturizing effects in that it a range to work from, but save the “smoky from the character or situation. Brows should
retards water evaporation from cells, and eye” for the glamour makeups that are more have a natural, unpainted look when doing a
will create a more even surface for stylistic and dramatic. “beauty look” or “natural look.” Glamour
foundations and color cosmetics. makeup has all the drama, with a precise
Practice eye treatment and combinations of
2. Liquid or oil foundation applied with a shape to the eyebrow that is obviously drawn
colors with as many models with varieties of
foundation brush. To keep a more or painted on. There are several ways to
eye color and shape as possible. Your eye
natural look to the skin’s surface, use shape brows using different products: brow
and hand need the practical experience to
foundation sparingly, do spot coverage pencil, brow creams or shadow, eye shadow,
develop your talent. You need to make
(spot painting), and add pinker tones to temporary hair color, Stacolor or Reel Color.
mistakes as well as get it right to have the
the foundation with cream rouges as ability to deal with the uniqueness of each Choose colors that are close in shade to the
96 97
they naturally occur in the skin. person. eyebrow or slightly lighter. Remember,
FIGURE 7-3: EYE FROM STUTTERBOX
3. Cheeks are typically a bluish pink, browns photograph darker. For a realistic
Practice the art of eye shadow. Start with
never brown. Think blood vessels, the brow, use two colors, to fill in or shape.
applying an eye shadow primer all over the
source of color. For a natural cheek,

BA S ICS
lid. Try Paula Dorf. This preps the eyelid, You can use brow pencils or brushes. If
drag cream blusher down slightly
helps the shadow last, and gives a smooth choosing brushes, pick a brow brush with

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toward the jawline and add a touch to
finish for eye shadow application. Using an stiff bristles that are cut at an angle (try
the bridge (not tip) of the nose. This
eye shadow brush, apply a base color of Cargo’s brow brush).
may be very subtle or quite heavy,
shadow in cream, pink, beiges, all over the
depending on the situation. Example: to

BE A U T Y
lid. Next, define the eye structure by
approximate the palest Irish skin with
applying browns or grays or blues in the
flushed cheek. PRO TIP
eye crease. Placement is key, color choice is
4. Powder with a yellow-based powder, open to what looks good on the person. Use a combination of brow pencils to shape,
then add powdered blush on the surface. Start with browns until you have mastered and brow powders to fill in or soften the pencil
The pink-yellow-red layer imparts a placement. Have your model look in the work. Follow over the completed brow with a
sense of depth, and therefore reality, to mirror to check and correct placement. This cream or light-colored eye shadow to fade your
the foundation’s finish. As the day is “working off the mirror.” You will do this work.
progresses, try to blot before adding to correct and check your work in all
more powder. Remove as much natural situations. Does the eye look open and
oil as possible with blotting paper. balanced, or drooped? Is there enough FIGURE 7-3A:
Natural oil production plus powder definition? Is the application smooth and Find the brow shape by taking the handle
creates another layer of a kind of consistent in color, or muddy? Is there too of a makeup brush and laying the handle
foundation that gets heavier throughout much color in the inside corner? Too much BROW SHAPING gently on the face vertically. Starting from
the day if never blotted. of a straight line in the crease? Take photos Brow shape conveys a number of emotions the inner corner of the eye at the nose,
5. I use eyelashes for character effect. to critique placement and style. 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
 between each eye). Next, with the brush that is too long. Work a little at a time until colors and placement on your models to see
handle vertical, gently lay the handle on the you have the desired results. It is better to the effects of color, placement, and shapes
outside of the iris with the handle going up make several passes during trimming than on the cheeks and lips. Refer to Chapter 1:
to the brow. This is your highest point in to cut too much in one pass. Shapes.
the arch, or where the natural arch should
be, and sometime is not. Approximately a GLAMOUR MAKEUP
1
/2 inch from the arch is where the brow Painted perfection, beautifully sculpted. Use
should end. For the beginning brow artist, PRO TIP your imagination with color, boldness in
take a pencil and lightly mark any area of Facial-hair lighteners are used to take application, and dramatic placement to
the brow that you feel needs shaping. naturally dark brows and lighten them. create a stylized look that is glamorous.
Start with the inside corner of the brow and This process is good for continuity and Depending on the design or look you want,
use light, short feather strokes in an upward looks. Lightening is a simple process, but start with blanking out the face with a
or 45-degree angle (depending on how the not something you would do on the same flawless foundation that has complete
98 day as shooting. This should be done sev- 99
hair grows). Move along the brow in this FIGURE 7-4: PHOTO OF GLAM FROM SHUTTERSTOCK

way, filling and shaping where needed. Use eral days before, or at least the day before,
different colors. Remember not to fill in too shooting. Always follow the manufactur-
much, just where needed. If you are using er’s directions on how to use a product.

BA S ICS
the brow pencil and brow powder
technique, add brow powder in a lighter

A N D
shade, and go over or fill in areas that are
Blush the cheeks and the lips with colors
too harsh from the pencil. You can use
that work with the skin tone, costume, and
brow pencil alone or brow powders alone,

BE A U T Y
situations. Placement depends on the
depending on your hand and eye.
individual features, character portrayal, and
Brow sealers can be used to tame unruly current trends. Experiment with different
brows. Apply after you have shaped the
brow. Sealers can darken the brows, so
adjust your work accordingly. Sealers can
also start to flake over time, so check your
PRO TIP
brows!
I very much depend upon the Estée
Brows also need trimming (just like the hair
Lauder Smoothing Creme Concealer, using
on the head). Makeup Artists trim brows on
it under the foundation of every women’s
a regular basis, particularly on men. Have a
makeup that I do, and some men’s. It not
small trimmer on hand (Panasonic), small
only works beautifully on dark circles and
round-tipped scissors, and a small-toothed
blemishes, but also as a successful eye-
comb (a mustache comb or brow comb
brow cover when only a small portion of
works). Keep everything clean, sanitary, and
the brow needs to be blocked.
running well. Follow the manufacturer’s
—Steven Horak
directions for the care and cleaning of the
trimmer. Comb the brow hair upward, with
FIGURE 7-4A:
your scissors at an angle, trimming any hair
 coverage with correction. Re-create the Before applying eyelashes, check for size.
desired features using beautifully sculpted Always remove strip lashes from the tray
contour and highlight. Add drama to the from the outside in to prevent damage to the PRO TIP
eyes and eyebrows with bold shapes and strip. Without using any glue, place the strip
Curl the eyelashes and apply mascara first.
color. Consider painting in the eyebrows or individual on the base of the lashes. How
Apply false eyelashes. After the glue has set
and using false eyelashes, with eyeliner to is the fit? Remove and trim any excess from
(one minute), “marry” the real lashes with the
add to the drama. Make lips luscious with a the strip from the outside. With the
false-eyelash strip by combing more mascara to
full shape using lip pencils and lipstick; top individual, you are looking for length and
combine them together.
with shine or gloss. Glamour makeup style with the eye. This is the time to choose.
should be bold in application and color, After checking the fit and style, apply a thin
and has to be well blended. You will be line of glue to the strip lash. Never apply
working with more makeup, both in color glue to the eye directly. An alternative is to
and texture. This look is “the full slap,” also put a small amount of glue onto your clean MEN AND CHILDREN
100 known as “beat the face” (makeup slang for makeup palette or wax paper palette, and Script, circumstances, and skin condition 101
painted). You will need plenty of then apply a thin line onto the strip using a will dictate your choices with makeup for
experimentation and practice in the thin brush. This brush will become your glue men and children. In most cases, you would FIGURE 7-5: PHOTO OF MAN STUTTERBOX
beginning, so go for it, work it, but blend it brush. This works well with individual not want to see any makeup. Healthy skin

BA S ICS
and powder it. lashes. Always take care in not using too tone, definition, and believability to the eye
much glue, as you can glue the eye shut. are key. Spot painting is recommended for face and hands, dry lips, and scrapes and

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FALSE EYELASHES Center the false-eyelash strip on the eye at both. Additional definition to the eyes and bruises. Use Chap Stick so the lips are not
Strip lashes, individual lashes, and exotic the base of the lashes. With the eye closed, eyebrows for men is noted in the section too shiny. Make it fun for them with
lashes are all great for bringing attention gently press the strip onto the base of the “Natural Makeup.” flavored Chap Stick.

BE A U T Y
and beauty to the eyes. For subtlety in a lashes. Have a slightly wet Q-tip ready in
Bronzers and tanning products are also
beauty makeup, use individual lashes, case you have glued the eye shut. If you do
recommended for men. Men’s grooming BODY MAKEUP
which come in several lengths and styles. not wet the Q-tip, the cotton will stick to the
should be addressed first before applying
An alternative to individual lashes is a glue. Application can be done with tweezers Body makeup finishes and smoothes out the
any sunblock or makeup. Check for nose
delicate strip lash in brown or black. For or hands, or a combination of hands, color of the skin. Even a sheer coat of body
hair, ear hair, unruly eyebrows that need
glamour, fantasy, stylistic, or theatrical tweezers, and a soft glue brush for securing makeup will give the skin a beautiful finish
trimming (unless the character calls for
productions, choose a heavier strip lash in the false lashes to the base of the lashes. How that photographs better than skin would if
unruly), shaving mistakes, sideburns,
black. Go for the flair and be as bold as the successful the application will depend on clean. It polishes the skin for a beautiful
and nails. It is always best to get all the
makeup design allows. Decorative or exotic your hands and steadiness. look. Usually opaque body makeup covers
trimming done in the makeup trailer. Use
lashes are wonderful in the right situations veins, stretch marks, age spots, and
lip moisturizers that are not shiny. Try
and designs. Removal of false eyelashes should always be discolorations. Sometimes you are doing
Chap Stick.
done from the outside in. Pinch the outside just the neck and hands; other times,
Industry Standards: DUO eyelash adhesive full leg, back, and chest, on men, women,
of the false lash with your thumb and index Talk about sunblock with the parent or
(available in black and clear white), Andrea and occasionally children. Widely used
finger, and gently pull in toward the nose. guardian of the child. Has sunblock been
eyelashes, Ardell eyelashes. All are available in all media, liquids are favored for their
Clean off glue by pulling off the strip, and applied? It is extremely rare to do a full
in most drugstores. finish and are formulated for the body. Most
reshape it on a tray. You can get several makeup on a child. There might be spot
Exotic/decorative/fantasy lashes: Elegant days on the same actor with one pair if they painting of a mark, or sunblock might be come in water-resistant, sweat-resistant
Lashes (www.eEyelash.com). are well cared for. needed for a child. Check for dry skin, dirty formulas.
 Industry Standards: Visiora, Make Up For QUICK AND EASY airbrush and compressor (all items are
Ever, M•A•C. This is the fast and dirty method, with no Industry Standards).
prep involved, working “out of your kit” PRO TIP
Start with applying sunblock first, if No matter what approach you will take for
needed, and allow time to absorb. Know the (makeup slang for using what is in your If the coverage looks good, but a bit dull or tattoo cover-up application, you will
area of the skin that is not covered by kit—and Dermacolor should be). It is for lifeless, take a dime-size amount of body commonly prep the skin by cleansing it with
clothing. Place tissue in all openings of those moments of need and no time. This lotion rubbed into the palms of your hands, an astringent of your choice. Doing so
clothes to protect from makeup. Avoid method uses KRYOLAN’s Dermacolor and pat onto the coverage. This “brings life” removes dirt and oil, and slightly dries the
applying body makeup where there is palette, an Industry Standard. to the skin by adding moisture back without skin for better adhesion of makeup and
clothing covering the skin. The Costume affecting the makeup. Remember to pat— paint.
1. With a synthetic precut sponge, cover the
Department will appreciate your protecting not rub—and use sparingly. In some cases,
tattoo completely with Dermacolor D red Depending on the size of the tattoo you are
the clothing. red needs to be stippled over the completed
B (green). Apply the Dermacolor on the covering, you may choose to airbrush or
coverage to bring back life to the skin.
tattoo itself, and not on the area around paint it out using your makeup brushes.
You can apply body makeup directly to the This happens with the larger designs that you
102 it. You do not want too much overlap, Either way, the colors you choose to use 103
skin with a sea sponge, large foundation have to cover. Use a textured stipple sponge
just to cover the artwork. This is the first should remain the same. I like to think of
brush, or your hands. If a sheer coverage is with red for this, and do so sparingly to break
color to start canceling out the ink, and this as though you were painting an opaque
needed, mix with body lotion. Check for up the color.
therefore needs complete coverage. Note: prosthetic (foam). The idea is to have a color
even application and no lines of

BA S ICS
some tattoos have a dimensional quality that is not conducive to looking real, and it’s
demarcation. Let dry. Gently press with
to them from the tattooing/scarring attached to the skin. Your job is to make it
tissue to remove excess. Powder with a “no-

A N D
process. You will be able to camouflage imitate clean skin, and to blend by painting.
color” powder or translucent powder and
the ink, but not the dimension. You need When I say paint, I mean paint as though
large powder puff. Buff off excess powder TATTOO COVER-UP STEPS
the help of lighting for dimension. you have a blank canvas.
with the puff. Allow time for drying before

BE A U T Y
by Christien Tinsley of Tinsley
removing tissue from clothing. 2. Stipple Dermacolor D31 (or D32, 1. First, you need to start by blocking out all
Transfers, Inc.
depending on ink colors) over the color of the tattoo. I like to go with a
Body makeup using an airbrush is covered In order to set up a tattoo cover-up, I first
first layer of Dermacolor. This color meaty red-orange color first. Paint the
in Chapter 10. like to prep my workstation. Materials I have
prevents gray from bleeding up through color solid over the whole tattoo, right to
the first color, and gives complete with me at all times when doing a tattoo-
the edge, and then blend and feather it out
coverage. The gray is coming from the cover application are: astringent to clean the
only about a 1/2 inch from the edge. This
COVERING TATTOOS blue and black ink. skin, cotton pads, shavers (electric and
not only helps block out the blues and
razor), shaving cream, scissors, adhesive
Tattoos are everywhere! You will cover 3. Stipple the third layer of the appropriate blacks used in most tattoos, but also gives
(Pros-Aide), latex sponges, tissue, spray
millions of tattoos in your career for so Dermacolor to match skin tone, again you an undertone to your flesh colors.
bottle (water), No-Color powder, powder
many reasons: if it does not work with the giving complete coverage. 2. Next, go in with a natural flesh tone that
puffs, Q-tips, 99 percent alcohol, brushes,
character, if the Director does not like the 4. Powder with No-Color Powder and a is about one shade lighter than the
sealer (Ben Nye’s Final Seal), hand towels,
real tattoo and wants something more powder puff or clean sponge. actor’s own skin tone. Stipple this color
Isopropyl Myristate, Supersolv lotion (body,
appropriate for the situation . . . the reasons over the surface—making sure it has
5. Lightly mist with Ben Nye’s Sealer, hand, or face), Anti Shine, Mac Crème Gloss
go on. solid coverage, but with variations of
holding the spray 12 inches away from Brilliance, tattoo palettes in flesh tones and
There are several ways to cover tattoos. We coverage when spraying. Do not primary colors; I use Skin Illustrator, Reel transparency.
will give you two to try. overspray! 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,
 or warming the painted area. This remover with a powder puff in a circular would be asking you to use the technique of coarseness and sometimes by hand with
should give you the overall match you motion on the area to be cleaned. Follow stippling to add color to the cheeks with an round natural bristle brushes in varying
are looking for. with a dampened hot hand towel to remove up and down motion using a sponge or sizes.
all solvent. brush. It is not complete coverage; it is
Details: Occasionally, I’ve used a dye brush and
varied and inconsistent. The up and down
thumb technique splattering the stipple for
Lightly apply a hotter red to the surface FIVE O’CLOCK SHADOW motion is done with a light touch, using the
an uneven look, then going in and removing
already painted to bring out the effects of wrist in a tapping motion. This gives a
Painting or stippling in beard growth is obvious blobs. Illustrator is designed to
capillaries and natural blush colors found in realistic look, that is not mask like. It is not
done to show a “five o’clock” shadow or a be mixed according to the complexion you
the skin tones. Freckles and the occasional complete coverage of color. There is an air
few days growth without using any real hair are working on. But, I’ll often start with a
browning of the skin can tie the look all quality to it and gives a variation of color and
glued onto the face. It is a basic, easy, fast black, white, and yellow mix from the FX
together. intensity that is organic. This technique is
technique that every Makeup Artists knows. Palette and make variations. It’s really
essential to a real-looking beard growth. You
Adjust the shade of your tattoo cover-up as It is sometimes requested last minute, on impossible to give a specific formula or
will use it often, and for many types of
you wrap around the body. Not every angle set, so always have your favorite stipple even percentages since mixing is an
104 makeups. If you were to apply complete 105
of the body has the same degree of warmth. product and stipple sponges in your set bag. individual painter’s eye and art. But I would
coverage for a beard growth it would look
When working on darker skin tones, you Skin Illustrator, Stacolor, and Reel Color always start with black as the base tone then
comical and clownish.
will be using reds and sometimes yellows. Products make the Makeup Artist’s job a lot mix in bits of yellow, blue and white to give
easier to achieve a lasting, water resistant, Stipple technique is also used to fill in real that blue or green cast that beard stubble

BA S ICS
4. After you are done covering up the
beard stipple. These products are all beards to make them look fuller or appear can have. Adding in additional colors is for
tattoo, a thin spray of sealer over the

A N D
activated by alcohol, are water and abrasion to have more growth, for long distance fine-tuning to suit an individual. Varying
surface will help protect it. If your image
resistant, easy to use, clean off quickly and shots where you do not want to lay hair by opacity and building layers rather than
is a little too shiny, add a little antishine
do not rub off on clothing. They are great hand, stunt doubles, and background artists trying to do it in one shot (always a
over the surface. Try to avoid powders.
for doing so many different kinds of who will not be shot in close up. mistake-unless you want it to look fake) is

BE A U T Y
Flesh-tone tattoo paints, lightly applied
makeups that they are Industry Standards the best approach.
over the surface, can help. Use silicone Let’s look at the three products and how to
and invaluable for realistic effects and
or water-based product. stipple a beard growth with them.
continuity. You should have all of their
Note: Never put oils such as glycerin on top palettes in your makeup kit.
of your tattoo cover for a wet or sweaty
You will also be working with stipple
look. This will break down the cover.
sponges. Stipple sponges are textured
For on-set touch-ups, always have your sponges, available in different guages and
paints and makeup colors with you in case density for different stippling effects. Orange
you have to remove and reapply on set. For stipple sponges are softer to the touch and
minor repairs, have premixed colors to more elastic. Black stipple sponges are coarse
match and fill in areas that have rubbed and much firmer than the orange ones.
away. Stipple is also a term used for technique as
well as to describe sponges and application. FIGURE 7-6: THE SKIN ILLUSTRATOR PALETTE
For removal of tattoo cover, mix Isoproply
It is part of the makeup industry’s
Myristate and SuperSolv in a 50/50 solution.
vocabulary. An example of this terminology
Warm the mixture to a temperature is if the Makeup Artist you are assisting says, Kenny Myers, creator of Skin Illustrator:
FIGURE 7-7: STACOLOR PALETTE
comfortable to the skin. Gently rub the “Stipple some color into his cheeks”—they I use a black stipple sponge with various
 Matthew Mungle: Apply GBB Beard Stipple If you have any heavy deposits, use a Q-tip Stipple sponges are stiff sponges made in skin is a drag; it’s time-consuming and
using different densities of beard stipple dipped in reel developer (99% Isopropyl different textures used in makeup to create painful.
sponges (black beard stipple sponges) or alcohol), and touch the glitch once for a a variety of shapes and textures.
thinned down liquid StaColors with 99% couple of seconds, then turn over the The SPF (Sun Protection Factor) can be
alcohol and air brush on using a splatter Q-tip and touch again; this should lift the misleading and not always accurate in what
technique. Airbrush can be purchased color. Do not rub! It will smear and ruin the the manufacturer claims. Example:
through bearair.com, Combo kit with look. waterproof sunblock has to be reapplied
compressor and Paache H brush with #3 after getting wet or out of the water. The
If you have any dark areas, you may labels have now been changed to “water
nozzle.
use the same type of sponge and resistant,” but there are still products
counteract the beard stipple with a flesh- floating around with old labels on them that
tone mix (Cover-up Effects Palette). Stipple say “waterproof.” When in doubt, reapply.
lightly on the heavy areas and the beard will SPF products with a number larger than 30
lay down to match the desired shade. This have not been proven to have any more
106 107
is also a good technique for a salt and protection, experts say. Another misleading
FIGURE 7-10: A COSMETIC SPONGE MADE INTO A
pepper look. STIPPLE SPONGE assumption is that a sunscreen or sunblock
If you chose to use Reel Body Art instead of with an SPF 30 has twice the protection of a

BA S ICS
the palette, it is a good idea to pour the SPF 15: not so. SPF 15 blocks out 93% of
colors into a wide lid (i.e., pancake lid one the sun’s rays and SPF 30 blocks out 97%
Stipple sponges can also be made from

A N D
for each color). Let it thicken or dry. Then 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
use the same technique as with the palette. desired number of holes into the sponge.
Do not be afraid to lighten (density) color the surface of the skin such as: burning,
FIGURE 7-8: REEL CREATIONS REEL COLOR PALETTE This will create texture.

BE A U T Y
using some Reel Developer. tanning and other skin damage. The UVA
Favorite adhesives to use for chopped hair rays penetrate the surface of the skin and
Fred Blau, founder of Reel Creations: applications: Extra Hold Matte Adhesive. damage the connective tissue. UVA long-
Using the cover-up effects palette and wave protection ingredients are avobenzone,
depending on the color, I usually use zinc oxide, titanium dioxide, mexoryl sx,
browns mixed with black. I use a coarse SUN PROTECTION tensor and helioplex (a stabilizer).
plastic wire type stipple sponge, and cut the No matter who you are, you need sunblock. Sunblocks come in creams, lotions, gels,
hard edges off to make a semi round Everyone needs to protect their skin from the sticks and sprays.
surface. The sponge should be about two damaging effects of the sun. Makeup Artists
A MUST HAVE: board spectrum
inches. When stippling, don’t try to cover should apply sunblock before a makeup as
sunblock that blocks both UVB and
large areas at once. well as during the coarse of the day when
UVA rays.
filming outdoors. It needs to be reapplied
Dip sponge into the color then test on to protect all day. There is a certain For the face try Neutrogena Ultra Sheer
another surface. When density is good, you responsibility to ensure your actor does not Dry Touch Sunblock in SPF 55. It
might get two to three hits on the face. Yes, burn while filming or shooting outdoors. It works great under makeup base, feels good
FIGURE 7-9: ILLUSTRATION OF A TEXTURED STIPPLE
it is time-consuming but it works and it also makes your work a lot easier if you take on the skin, is non-greasy, and water
SPONGE
lasts. the time to protect the skin. Covering burnt resistant.
 For the body try Neutrogena Body Mist foundations from their container with a REFERENCES Beard stipple with Reel colors, Fred Blau
Sunblock SPF 45. This spray goes on palette knife and place onto a makeup Thomas P. Habif, Clinical Dermatology, www.reelcreations.com
beautifully and is ultra light, feels clean on palette or artist’s paper to use for each Third Edition, 1996, Mosby Year Beard Stipple with StaColors,
the skin, is non-greasy, water resistant, and person. Use disposable mascara wands and Book Inc. Matthew Mungle
great for on-set touch-up or reapplying. You applicators. Cut off lipstick from the tube
www.consumersearch.com/www/family/ www.matthewwmungle.com
can spray it right over your makeup. and place onto your palette to be use off the
palette only. Clean brushes after each use. sunscreen/index.html Beard Stipple with Skin Illustrator,
MAKEUP SAFETY TIPS Sharpen all pencils before and after using. www.comsumersearch.com/www/family/ Kenny Myers
Clean lipstick brushes with 99% alcohol. sunscreen/review.html www.ppi.cc
Makeup and applicators should not be
Use sponges and puffs only on one person.
shared. Use certain safety standards www.medicinenet.com/sun_protection_and_ Tattoo Cover up, Christien Tinsley
when working. Wash your hands in Industry Standards: stainless steel palette, sunscreens/pg2.html www.tinsleytransfers.com
between working on each person. If a sink artist’s paper palette, Japonesque makeup
www.medicinenet.com/sun_protection_and_ Richard Dean
is not available, use hand sanitizer, or hand palettes, stainless steel palette knife, 99%
108 sunscreens/pg3.html Rdean1028@mac.com 109
wipes. Always remove cream products and alcohol.

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A N D
BE A U T Y
© MARY BIRCHLER DESIGNS
Design

8
DESIGNING, BLOCKING OUT EYEBROWS, REVERSE AGING, AGING,
 TEMPORARY TATTOOS, Producers. From our breakdown of the with amount of time, research, and with sources from Milan, Paris, London,
CONTACTS, VENEERS, DESIGNING script, design meetings, production designing per job varying greatly—from New York. Art books and photography
WITH ENVIRONMENT meetings, and sidebar meetings, we begin to exotic, very stylized fashion to natural, to books, and old Life and Time magazines,
Makeup accessorizes the character’s look, test the looks. This is the prep period of the designing the makeup for a runway and old catalogues from the time period
mood, and style. We put the finishing touch schedule: the weeks or days (for prosthetics, collection. (Sears, Roebuck) are great sources. Walk-
on the actor’s exterior to match the interior the prep time is much longer) before filming ing down the street you see the most in-
There is a lot to think about in all areas
performance and to bring the character to begins, for both film and TV. Stage has its teresting makeup choices and characters
of makeup, starting with what medium is
life. This enables the actor to focus on the own prep or rehearsal period, where designs that you never would have imagined. In-
being used? What is the look (style) of the
performance and not the look, and to and makeup are worked out in dress spiration is all around you.
project? Is there a color palette that all
become the character. Many times you will rehearsals onstage with lighting. There is the
departments are working with? Who are the
feel the actor start to transform before your same collaboration with Director, Costume
characters (and their background)? What is
eyes as the makeup application progresses. Designer, and Lighting Designer—and, you
the movement of the story? Who is the
They are looking into the mirror and seeing hope, a chance to see your makeup “from There is movement to makeup in film. Our
client? Is it an editorial shoot or advertising?
112 the house” with the lighting plot or design. work is consistently changing with the 113
the physical appearance matching the Where are the shooting locations?
interior of their performance/character, and This is the time to see your performers from mood or emotion of the character, the
Environmental factors; continuity issues.
their body language begins to change. At the seats in the audience (“from the house”), situations, and the environment of filming.
What does the Director want? What does
this moment, both actor and artist know usually viewing from orchestra seats, It can be extremely subtle or very obvious.
the actor want. Is there an arc to the story

D E S IGN
the makeup design (and application) is midway back, to judge how your makeup is Attention to detail brings life to the look
that affects the makeup movement? What
working. You know you have been reading to the audience. It is generally a and believability. The more believable, the
research needs to be done to create realism?
successful in developing the character. standard in theatre or opera to work from less focus on the fact that it is makeup.
What creative influences do you want to
this vantage point of “middle of the house.”
In film, every makeup begins with the use: European fashion magazines, art books, Read through the text several times, making
With each theatre being a different size and
text of the script. Makeup is one of several American fashion, street or local fashion, or notes and breaking down the script before
capacity, you adjust your work accordingly.
languages used to elaborate and illustrate museums? Is it fantasy or real life? What is meeting with the Director. Script breaks are
If you work for the back reaches of the
text. Based on the text, we make all sorts the inspiration? done by all departments, and you must
house, the makeup will be too heavy for the
of decisions: the character’s physical well- compare and defer to the Script Supervisor’s
seats in the front rows. If you work for the Inspiration for design can come from
being, social and financial status, level version as the final word. The Script
front of the house, your makeup will not be just about any source. It’s all around
and condition of vanity, and inclination to Supervisor will provide a breakdown to all
seen by anyone seated past the first few you.
spend time in front of the mirror. At the department heads. Recommend reading for
rows. So you split the difference and go for
point the actor or actress enters our lives, script breakdown “Costuming for Film: The
midway.
his or her analysis of the same textual Art and The Craft” by Holly Cole and
information meets our own. Add to this Adjustments are also made for HD filming Kristin Burke.
their personal needs, physical condition, of stage productions and live broadcasts. PRO TIP
After meeting with the Director, meet with the
areas of insecurity, and physical strengths, This has altered the products and style of People-watching is a great source of in- other departments: Costume Designer,
and we are nearly ready to put brush to makeup used for stage, and has lessened the spiration. Ride the subways and public Production Designer, Cinematographer. This
skin. theatricality of the makeup. transportation; visit different neighbor- is the time of discovery and aesthetics
—Richard Dean hoods; people-watch at the airport; go
For photograhy, the design is based on decisions. It is also a time for research. Once
We explore, examine, research, discuss, conversations with the Photographer, Art to clubs and social events that appeal to you feel you have done your due diligence,
collaborate, and meet with the Director, Director, and client. There could be several the specific types of characters that you talk to the AD (Assistant Director) about
Actor, Costume Designer, Production days to create a design or look, or just one are researching. Keep current with beauty meeting with the actors. The AD handles
Designer, Cinematographer, and the day. It is a project-per-project situation, trends and fashion; think internationally all scheduling. Your first meeting could just
 be a meet-and-greet (no makeup applied). If process of problem-solving and staff. There is a temptation in a large work “In designing the makeup for Fatal
that is the case, you and the actor will discuss collaboration that go into designing looks situation to “grand stand,” or stand-out from Attraction, the female character Alex
looks, products, and ideas. If schedule allows, and characters. There will be times when the group. Resist the urge! When you are Forrest, played by actress Glenn Close, is
then there would be a makeup day to test or you will be asked to change or correct new and wanting to impress, all you have to clearly attractive and sensual, but with an
work out the looks. If there are makeup something. Do not be put off, but do is your job! The HOD might not have underlying layer of terrible disturbance
designs that are still in the experimental understand that you will not always get it the time to chat with you, but they know and ill function. Symmetry and balance
pause, work out the design on a model first, right the first time. Ideally, you will have who is getting the work done. This is could not tell this story. Instead, I made
perfect the design or products to use, and the opportunity to start out with small what will impress those you work for; doing an effort to suggest that something was
then apply this to the actor. If you are not projects, independent films, industrial the makeup asked for, paying attention, always hidden by emphasizing the natural
experimenting, work out your designs with projects, and small print jobs to hone your being professional on and off set, and not lack of symmetry in the human face,
the actor. Makeup Artists also use Photoshop skills, creativity, and intuition. These small trying to over-step your position to get by lining the eyes to stress that one was
to design looks and to use for a show-and-tell. projects help to develop and perfect your attention. slightly smaller and by tossing a shaft of
Prep time and money in the budget will problem-solving ability in design. Knowing hair over one eye to create a kind of three-
114 dictate how much makeup testing there is. In how to achieve a look with very little money quarter (rather than honest full face) gaze. 115
some cases, you will not have access to an or resources, or how to create a look when CHARACTER DESIGN The lady had her secrets and her “beauty
actor. Normally, there is at least one day of the environmental issues at hand will cause Character design can be thought of as all makeup” contributed to her mystery. In
makeup testing done on-camera, called a “test problems (like humidity) is an asset. You makeup designs; even a beauty makeup is a the retail world, balance and symmetry

D E S IGN
day.” This gives everyone a chance to put the will struggle to achieve and maintain your form of character design. For some people, are more useful than they are in film.
work on film, look at it on-screen, and make makeup if you do not look at the whole when referring to character makeup, they
The movie camera seems to adore the
decisions based on what was tested. When the picture. It is foolish to not consider all don’t realize this point. They think of an old
less-than-perfect if it exists within the
tests are screened at “dailies,” everyone elements to each design situation. age makeup or an obvious physical
confines of perfect reproductive health
involved is present. Discussion on the looks alteration to the actor to show character,
and heat. Just examine the specific
goes on while looking at the film, and You now have some idea what the Makeup and not beauty. All projects begin with
features of today’s biggest stars. I struggle
decisions are made or more testing is Department Head or Makeup Designer goes text or concept; there is your character.
to learn what each face wants to say about
requested if the looks were not what they had though. In the beginning of your career, Working subtly is just as challenging as
itself; unless there is a particular demand
been hoping for. Many feel prep is the most you will not be privy to all the meetings, painting with broad strokes when creating
made upon one feature’s emphasis over
difficult time in discussions, and decisions regarding design. a character. Nicotine stains on the teeth
another, my habit is to let the face of the
the production schedule. This time of The bigger the budget and show, the more and fingers of a character that smokes is an
actor tell me. Or their voice if they are so
collaboration can become a time of too many this is true. This is why we remind you example of conveying the subtlety of a
inclined.”
cooks in the kitchen! In photography, you often to follow instructions given by those character. Many times the audience
—Richard Dean
will develop your makeup design from members of the department that are does not consciously notice these design
directions and concepts given to you by the supervising the makeup crew. This is true because the look is so authentic to the We use every trick available to tell the story
photographer and client. On the day of for all mediums; so much has gone into the physical portrayal. Richard Dean, whose and sell the look. We change eyes, teeth,
shooting, test photos will be taken (or design and choices for a project long before artistry and brilliance in makeup design for eyebrows, noses, nails, skin color, hair
Polaroids) and, after reviewing and consulting you arrive for your first day of work. If you so many films, is one of the top makeup color. We reverse age, add age, add tattoos,
on the photo, any adjustments or requests are a daily hire, the larger the show the artists in the film industry. His work gives change facial features, and, of course, alter
that are needed will be made. more likely it is that you will have very little makeup artists inspiration, and for the with prosthetics. Your designs can be
interaction with the HOD (Head of beginning makeup artist he will illustrate sketched, done with Photoshop, tested on
In all situations, remember to stay flexible Department). The HOD will be relying on some of the thought processes for designing models/actors, or verbalized. The better
in mind and hand. This is part of the their crew to instruct and manage a large a makeup: your prep and research of a project, the
 better your work will be. There will be sort of Zen buzz from the process.”—Patty
times that you have no prep or research York
time, such as last-minute jobs, on-the-spot
requests because of a new inspiration by the Many times you will have to recreate looks
Director or actor, or accidents that require for continuity reasons on a project.
fast problem solving. Remember attention to Scheduling, story line, and cost affect how
detail gives your makeup designs life. often one look will be recreated throughout
a shooting schedule. You need to remember
what you did, how you did it, and what you
use.
PRO TIP
It can be daunting to execute a makeup These Face Charts or Makeup Charts go
on a leading lady when she is the second into a makeup continuity book that is kept
116 or third soprano to sing the role during the by the Makeup Department and turned 117

run of an opera, and there is no chance to into the studio on completion of the film.
observe her in a rehearsal and make any If there are re-shoots or additional
necessary corrections. This is where one’s photography requested by the studio to

D E S IGN
instincts and experience must guide one’s finish or change the film, the looks can be
hand. recreated by referencing the makeup
—Steven Horak continuity book—regardless of whether or
not the original Makeup Department is
available. These decisions are made “in post” FIGURE 8-1A
on a project; the Powers That Be decide to
change, redo, or add to a scene for many
Patty York prefers to illustrate her designs for Note: This is an actual working Face Chart, character. The eyebrows frame the eyes,
reasons, one of which is a testing audience
film. Being a passionate perfectionist with a the photo of the completed makeup on the the windows to the soul, making them
that does not respond well to the movie. All
background as a commercial artist helps actress is not included to protect the very influential on the focus of the facial
departments on film and television keep
distinguish her face paintings from others. integrity of the film until it is released to the features. Block out the eyebrows to
continuity books. Everyone puts their own
Patty also prefers illustrating her makeup theatres. The film is still in production as of completely alter a face or show “period” (for
stamp on how the book is done. Digital
continuity charts (or Face Chart). She this printing. example, Victorian England). As with all
photos, notes illustrated with photos, sticky
meticulously shows a painted illustration and makeup, it can be a very subtle or extreme
notes that attach to the back of the photo, Kim Felix-Burke gives us another example
includes written details of her makeup block.
Makeup Charts (Face Charts), labeling of of a Makeup Chart. This shows how a
designs, including a photo of the completed
the cosmetics used with the scene and actor photo from fashion or advertising can
makeup on the actor or actress.
on the label, and combinations of all of the inspire a makeup design. The photo is from
“One of my job requirements is makeup above, are some of the tools used to a Sephora makeup ad. Three Techniques
continuity for the film project at hand. This document continuity. Adhesive Block: To block out the brows,
means reproducing the makeup designs I’ve choose an adhesive that is easy to remove
created for the film on paper, a Face Chart, Patty’s Face Chart gives you all the detail EYEBROW BLOCKING (see adhesives under product information).
if you will, with painted illustrations and and description to recreate her makeup Changing eyebrow shape is a wonderful and Spirit gum or resin-based adhesive works
written details. I love doing them. I get a design for this character. powerful tool to developing and designing a well. It is easy to remove, dries fairly
 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-
118 119
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

D E S IGN
applied directly over the eyebrows. Plastic-
based products are easier to work with. We
will use KRYOLAN’s eyebrow plastic.
LIFT OFF
FIGURE 8-1B 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, film, 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
quickly, and comes in different grades of 4. Apply foundation, choosing one that fits skin.
Beauty Bands are used for beauty, glamour,
matte formulas. the character’s skin tone, with full
1. Apply on the fruit a thin layer of plastic to reverse age, in character makeups (think
coverage and staying power.
1. Apply the spirit gum, brushing into the that is slightly larger than the eyebrow Tootsie, drag queens, transvestites), and on
brows to lay flat and smooth against the Removal: Use alcohol or spirit gum remover. area and shape. Let dry. both women and men.
skin.
2. Reapply a second layer. Let dry. The “lifts” eliminate lines around the eyes
Waxing Out: Eyebrow wax comes in
2. Using a soft cloth or powder puff and mouth, and help give a smooth, firm
several degrees of hardness, and many 3. Powder with no-color powder. Lift off
wrapped in nylon, gently press-roll the look to the jawline and neck. They tighten
brands to choose from. the fruit.
brows until the adhesive looks matte. the skin and lift the eyebrows. Many times
(Leather shammys, or Nylon or silk 4. Apply eyebrow wax to brows to
We use KRYOLAN’s eyebrow wax. you will use them in tandem with a wig,
fabric works best with spirit gum, flatten.
but lifts can also be used without a wig. The
because they do not stick to the 1. Apply wax over the eyebrow with a 5. Press with powder puff that is clean—no Hairstylist will work with you to incorporate
adhesive.) spatula, blending the edges into the powder or talc on the puff. the lifts into the hairstyle or wig. They are
3. When the adhesive is dry, apply a sealer skin. 6. Apply spirit gum around the edges of fantastic for those projects where the same
over the top of it. 2. Cover the brow with a sealer. Dry. the brow. person goes through several decades. You
 would use “reverse age,” current age, and should work with the Hairstylist at this a very simple technique using three-
old age to show the passage of time. point, to coordinate elastic with dimensional appliances to achieve wrinkling
Mark Traynor’s lift package consist of two hairstyle. and aging of the skin. We are going to tell
pieces of hypoallergenic surgical tape 6. Finish the makeup, and check for you how to do stretch and stipple with two
attached to two elastics, one of which has any adjustments that are needed. different products. Basically, the technique
eyelets on it for adjusting the tension. Always follow all manufacturer’s of stretching is the same with both
instructions. products. The key to stretch and stipple is
To apply the lifts, the pull is very important. how you stretch the skin to get realistic-
Start with a clean face, deciding placement looking wrinkles. There will be times that
of lifts before doing any makeup. At some OLD AGE
you will be asked to do this without any
point nearing the completion of the makeup We can add age to a character by painting preparation, so having the skills and
application, you will stop doing makeup in lines, age spots, and broken capillaries, products for stretch and stipple will allow
and attach the lifts. This ensures that your and by graying the eyebrows and hair. If the you to work directly out of your kit, at a
120
placement of makeup is correct. Once the actor has a photo of a parent at the age you moment’s notice. 121
lifts have been attached and the skin is tight are recreating, that is very helpful in seeing
and smooth, complete your makeup. The the way the family genetics age. Your FIGURE 8-2: OLD GREEK WOMAN
eyebrows should be done last, when the lifts GREEN MARBLE SeLr
knowledge from the previous chapters on
AGING TECHNIQUE

D E S IGN
are in place, to get the proper shape. Shapes (Chapter 1), and the Body (Chapter
2), and Highlights and Contours (Chapter by Richard Snell and Kenny Myers, reprinted
1. With the person sitting (clean face),
6) are needed to guide you in hollowing out from Premiere Products Inc. (www.ppi.cc)
looking straight into the makeup mirror,
stand directly behind your subject. the features, adding fine lines, and The information contained within the con- Green Marble SeLr is often used as an
Placing your fingers at the hairline, pull giving an old-age texture to the skin. text of this article is presented in good aging product. The results are subtle and
to see where the lifts should be placed. Texturing the skin is a must to complete faith. The responsibility for the use of any effective. A technique called stretch and
You must work off the mirror image. your line work. Otherwise you have smooth material in special makeup effects rests stipple (or stretch and brush) is used in the
Check the pull by adjusting your finger lined skin. Have your model raise and lower solely with the user. The author assumes aging process. These procedures were
placement. See where it looks too tight each section of the face that you are no responsibility for the use, or misuse, refined by Douglas Noe during a
or just right. painting to find the lines (see Chapter 2: of any material, technique, or the infor- particularly brutal summer while filming in
The Body). Using a medium brown with a mational content discussed within this Atlanta. To mix Green Marble into an ager,
2. Clean the area with alcohol to remove
fine-tipped makeup brush, paint in the line article. you must use Green Marble SeLr
natural oils. Let dry.
where the wrinkle forms. For a very subtle concentrate and Attagel (clay powder used
3. Apply the tape to the prep area. In some
aging use a taupe brown. If a heavier line is in facial masks).
climates, you can also add a medical
needed, blend the top edge out and leave
adhesive to the tape for extra holding Very important: Do not use this technique
the lower edge of your line hard
power. AGING USING STRETCH with the spray Green Marble SeLr.
(unblended), this hard edge will recede the
4. Gently place the elastics to the side or wrinkle further. Practice and work out your AND STIPPLE Recipe: 1 oz. Attagel to 6 oz. Green Marble
back of the head, with a clip to get them aging with as many models as you can. Many times the painted technique of aging concentrate still works well as a fine line
out of the way for makeup application. Each face tells you how to age them, so we is not enough to achieve the age needed. wrinkler when used lightly. This formula
You are not attaching the elastic yet. will not give you steps to aging. Review In this situation, the professional Makeup also works for lighter applications or where
5. When your makeup application is Chapters 1 and 2 before starting your aging Artist should know how to do aging using texture change is all that is needed. You
almost complete, attach the elastic. You exercise. the stretch and stipple technique. This is might want to custom blend the recipe to
 get a desired effect for different areas of the • Chubs each layer. A hair dryer can also be used on a
face. • 99 percent alcohol cool low setting. When aging an actor, don’t
get too close to the mouth or nasolabial area.
Attagel to Green Marble Concentrate • Telesis 5 Thinner
Too much buildup of product will only
Formulas: cause you to have constant repairs because
Prep the actor:
• 1 to 3 oz.—heavy ager on most skin this is a very mobile area. Remember to keep
Remove any fine hairs from the actor, and
types your fingertips powdered at all times.
lightly wipe the face with Kiehls blue
• 1 to 4 oz.—medium heavy astringent (product of choice) or witch
hazel. To prevent lashes from sticking while WHERE TO STRETCH FIGURE 8-5: CROW’S-FEET
• 1 to 5 oz.—medium light
you work, apply AF Thinner to lashes with Furrow lines: Area between brows is pulled
• 1 to 6 oz.—light ager on most skin types
a mascara wand before you begin. Recline upward and outward.
Your makeup kit for stretch and stipple the actor in a chair for easier working
conditions. An upright position is perfectly Eyelids: Pull up at eyebrows, both eyes.
122 with Green Marble Concentrate: 123
fine also. You might find yourself doing
• Kleenex
both throughout the process.
• Puffs

D E S IGN
• Sponges THE METHODS

• Towels Use a flat white synthetic bristle brush

(between 3/8 and 1 inch in width), depending
• Hair dryer
on the area being aged. The application
• AF thinner (RCMA) changes only with the tools you use to put
• Assorted makeup brushes the SeLr to the skin. Have your brushstrokes FIGURE 8-3: AREA BETWEEN THE BROWS WITH

• Cups, Q-tips complement the directions of the wrinkles. FURROW LINES

One to four layers, and up to as many as FIGURE 8-6: EYELID WRINKLES
• Cotton pads
nine layers, can be used to get the desired
• Kiehls blue astringent effect. Stretch the area being stippled. While Forehead: Subject scowls to lower brow
still stretched, apply SeLr concentrate ager line, and hairline is pulled away from face.
• Flat white synthetic brushes (3/8,1/2,5/8,7/8,
with a brush, complementing the directions Under-eye area: Pull down and toward
1 inch)
of the natural wrinkle. While the skin is still center of face, both eyes.
• Cape
stretched, powder the area just done. Now
• Skin Illustrator Color Palettes release your stretch. Repeat the process until
• Makeup remover you have the number of layers desired. If
possible, for multiple layers and if you can
• Eyewash drops
hold the skin that long, try not to powder in
• Moisturizer between layers. This will enhance the
• Hand sanitizer finished look. But whatever you do, don’t let
FIGURE 8-4: FOREHEAD WRINKLES
• Powders go of the skin before your final stipple and
powder are applied. Use a hand fan while
• Hand fan Crow’s-feet: Pull away from outer corners
working to keep the fumes away from the
FIGURE 8-7: UNDER EYE AREA LINES
• Green Marble SeLr Concentrate actor and to encourage the drying process of of both eyes.
 Option one: Lift area away from center of Cheek: Using the subject’s index finger, REPAIRS C: Heaviest wrinkling effect possible. Good
face. reach deep into the cheek and push out. Depending on how many layers you have for use on hands.
This is a perfect opportunity to tie the done, areas around the mouth may crack or
Option two: Puff the area to be aged. Crusty: Gives the illusion of deeply
nasolabials, under-eye area, and crow’s-feet flake. You’ll most often notice this damage weathered skin. Great for use on hands.
together. Do both sides. 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
FIGURE 8-8A & 8-8B: NASAL LABIAL FOLD Marble SeLr with a brush, sponge, or heat in the microwave for two seconds.
spray.
124 Be careful not to overheat, or the stipple 125
Upper lip: Puff entire area to be aged. (Puff 3. Apply the original ager material. will coagulate.
means having the person fill their upper lip
with air and hold until application is dry.) Stretch and stipple skin area with a light
FIGURE 8-11: CHEEK STRETCH Removal coat of old-age stipple. Powder and release.

D E S IGN
Massage isopropyl myristate or IPM Gel
with your fingertips 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
Neck: Begin with the head back. Do the
material will dissolve—slowly, then faster stipples for a natural look.
throat first. Then, with head turned, do
and faster. When the product has loosened, A wash of castor oil and 70 percent alcohol
both sides.
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.
FIGURE 8-9: UPPER LIP PUFFED

STRETCH AND STIPPLE WITH

Removal
Chin: With neck arched, pull both sides of W.M. CREATIONS, INC.
Massage liquid hand soap into stippled area,
chin away from the center of the subject’s W.M. Creations has old-age stipple available and let soak for at least one minute.
face. 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
FIGURE 8-10: CHIN STRETCH FIGURE 8-12A & 8-12B: NECK STRETCH
used stipple. makeup. Examples of contact lenses being
 necessary to complete a makeup are: a badly should also be aware of adding any light Artificial snow, smoke, wind, lots of convenience stores, or shops, for example.
beaten face, illness, death, or portrait reflection flares to the design. Although it splashing water, and the occasional Soft lenses are currently the standard of the
makeup (lookalike). With a badly beaten looks nice, the reflection can be confusing sand can make all lens wearers unhappy industry. Almost anything can be painted,
face, if there is bruising/wounds to the eye to interpret during the painting process. campers. printed, or laminated on a soft lens. Rigid
area, there would be broken blood vessels At times, it becomes a collaboration lenses are used for a variety of effects—
Colors of the lenses can be adjusted or used
in the whites of the eye. In illness, you between the Makeup Artist and myself. athough the wearing time is much less than
in such a way to accommodate media such
would show yellowness and broken vessels. The Makeup Artist will give me a design for a soft lens, and rigid lenses take longer
as bluescreen and greenscreen. Effects can
In death, you would use a death lens that is that I will alter in Photoshop to better fit for the actor to get used to.
be included with this. For example, green
cloudy. In portrait makeup, you would the contacts to be worn. This would be
or blue lenses have been used to make an
change the eye color of the actor to match the easiest way to see what the Makeup
actor disappear on-screen. Scleral Lenses
the person they are portraying. In all of Artist wants and how the design can be
Scleral lenses cover the sclera, or white part
these situations, having lenses to remove the executed. Most designs are created in Green or blue lenses have also been used to
of the eye. They are larger in diameter (18–
“life” in the whites of the eye, or to change Photoshop beforehand, then emailed to project an effect onto the sclera lens that is
24 mm) than traditional lenses, which
126 the color of the iris, completes and sells me. After discussing what is doable, I’ll sit being worn. These are just a few examples. 127
generally cover only the iris (colored part of
your artistry. Contact lenses are a fabulous down to paint. A mock-up is painted first,
Contact lenses should be the last thing to go the eye) and are usually 14–15 mm. Scleral
tool for the Makeup Artist. and, if time permits, a picture is taken to
on the actor, and the first to come off. Most lenses work great for bloodshot eyes,
be sent off for approval.”
There are many way to order contact lenses. lenses stay with the Makeup Artist after the hemorrhage effect, jaundice, full black,

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Cristina Patterson Ceret, Contact Lens The most commonly used contact lenses are shoot. He or she will bring them in to be demon eyes, and other monster effects,
Technician and Special Effects Coordinator, kept in stock with different curves. sterilized and sealed for long-term storage. where the entire inside surface of the eye
takes orders from all over the world. The If the lenses are to be used again after they needs to be covered to avoid seeing the
most common method for her is by email. Television shows tend to need contacts at have been sitting for a year or so, we ask edge of the lens.
Christina says: the last minute. Actors would be fitted for the Makeup Artist to bring them in to us or
contacts right away to be used in same-day any other eye-care specialist to be checked
“Depending on the production, sometimes Contact Lens Information
or next-day situations. There are times when out for imperfections, bacteria, and so on.
I am asked to actually create the designs Cost: The cost of a lens is related to the
the contact lenses are not in stock. Also, the artwork on the lenses should be
for the contacts, or the Makeup Artist difficulty and type of special-effects lens
checked for any fading or opacity. If the
requests their designs to be painted. It’s The Makeup Artist must have the actor design.
lenses are in good shape, we’ll go ahead and
tricky when a Makeup Artist creates their fitted by a professionally licensed doctor.
sterilize them for use. Fitting and Exams: All exams include
own. A lot of times, they will design When contacts are being worn, you can get
internal and external eye-health evaluation
something that takes the lens all the way tunnel vision—just like looking through
to determine if the actor can in fact wear
to the edge. People forget that lenses are a straw. Everyone is different with their All Lenses Are Unique (or a word about
contact lenses, plus refraction for
round, so if you stretch a lens out one comfort level when wearing contacts. A contact lenses)
prescription.
way, they also have to go the other way properly fitting lens should be reasonably There is no such thing as a generic contact
to complete the circle. It also depends comfortable. There is no definite wearing lens. Every person has a slightly different Getting Fitted by Another Doctor: To
on the size and curve of the actor’s time. It is completely dependent upon the eye curvature and eyelid tension. Only a purchase lenses without being able to bring
measurements. For instance, if the actor’s actor’s comfort level. Environmental licensed eye-care professional can fit a the actor in for fittings to your favorite
measurements permit only a smaller conditions will have an impact as well. contact lens. You are putting your eyes at special-effects lens maker, you can forward
size of the sclera lenses, it’s definitely Artificial environments are all irritants to the risk by purchasing special-effects lenses the information directly to the shop. This is
not going to the edge. Makeup Artists eye, which affects contact lens comfort. from online auction sites, flea markets, what you’ll need to submit:
 1. Current refraction television industries, explains the process stress in the artist-actor relationship,
2. Keratometric (K) readings and current reasons for tooth to say the least. Not using enough
transformation: SAFETY TIP FROM GARY ARCHER material can lead to a shortened or
3. Visible iris diameter (mm)
The mouth is a very delicate place. Be care- underextended impression that doesn’t
“One of the main reasons for tooth
4. Pupil size (mm) ful what you plan to put on an actor’s own capture the areas that you need.
transformation is that in today’s
5. Normal iris color (photo if possible) Hollywood society, a perfect smile is teeth. All the new technology available
6. An exact color rendering of effect to be essential. Unfortunately, with the latest to dentists in the advancement of “tooth
created in porcelain veneers, implants, and beautification” means that it is very easy
cosmetic bonding, we have beautiful to damage a veneer or to stain cosmetic
7. If scleral contact lenses are the desired PRO TIP
smiles in life—but under the lights and bonding. Stay away from “paint-on stains
lenses, the actor must be fitted by a If you are not sure of the procedure, call for
in front of the camera, it is entirely too and colors.” They can permanently stain
doctor who has the compatible fitting help.
dazzling, and therefore unrealistic. We delicate bonding and unsealed margins on
set. Scleral lenses must be fitted
have had requests to darken actors’ teeth veneers.
128 physically; they cannot be determined 129
solely by corneal curvature to make them less perfect. We can give
measurements. them gaps where no gap exists, and stains
Once the positive dental casts have been
to represent neglect and poor dental
done, the design process starts. A diagnostic
TEETH care; have them missing teeth, or have

D E S IGN
It is recommended that you use a dental wax-up can be made to show the Makeup
them fall out on camera. We also make
Another great tool for the Makeup Artist is professional when transforming teeth for a Artist and Director exactly what the teeth
“grills,” ranging from single teeth with
working with and changing the teeth. As character. Gary will show us the process for will look like. This helps to eliminate
faux diamonds to full arches with designs
with contact lens, changing a person’s dental casting: surprise on the set, and will enable all
and styles on them. We make perfect
teeth to go with the makeup design is an parties to be on the same page. It helps to
teeth bad, and bad teeth good! We have Obtain accurate dental casts of the actor. Do
essential tool to create realistic effects. It is bring it all (the design) together.
also developed a range of fake braces and not use old molds that the actor may have
also a wonderful choice for character design
retainers that will fool the most critical from previous projects. They are usually After the designs have been approved,
and comedy. As with contact lenses, teeth
eye. In addition, we have copied smiles of older than the actor remembers them to be, a last wax pattern is cast to fabricate the
that don’t go with the makeup design will
famous celebrities and influential figures have been used for a previous prosthetic acrylic veneers. Heat-cured acrylic is used to
take away from your makeup job. For
of the past to transform the actor’s teeth appliance, and may be damaged or give the most accurate, color-stable, and
example, you have aged an actor from 40 to
into whoever it is they are portraying. inaccurate. realistic look for the veneers. Self-curing
80 years old, and the actor’s teeth are too
Plumpers are another specialty to help plastics tend to have a very monochromatic
white. This will detract from all of the aging Gary takes us through the steps of dental
swell out or fatten a character’s mouth, and dull appearance, so they should be
work that has been done. casting and dental molds:
and are another unique product. avoided.
It is important to use a qualified 1. First, an alginate impression is taken
Once fabricated, the veneers are quite
professional in both areas when designing with a metal tray. Plastic trays are not
thin and delicate. Given time, the actor
characters involving eyes and teeth. The PRO TIP rigid enough and can cause distortion.
actually forget they have teeth in, and
professional’s technological and medical 2. Second, a cast is made in a hard yellow
Plumpers are a great makeup tool for chang- care must be taken to ensure that the
background protects the actor that you are or blue stone.
ing facial shape. For example: aging or swell- actor does not forget they have veneers
making the changes on.
ing from a fight or accident. 3. Be careful loading the impression tray. in, and go to lunch wearing them.
Gary Archer of G.A. Enterprises, a specialist Using too much material can gag or This has happened, much to everyone’s
in dental prosthetics for the film and choke the patient (actor), which causes amusement.
 • To help the actor adjust to something on hairpieces, they create a realistic aging. Makeup, Ninth Edition. Needham Heights:
their teeth, they need to get the feel of Besides old age, we also use bald caps in Allyn and Bacon, A Pearson Education
PRO TIP them. Have them wear the veneers well character design, to show illness, photo Company.
Remind the actor to not put their veneers in before going on-camera to give them time double for a bald actor, stunt double for a
Internet Resources
their pocket as storage as they will break! to forget they are on. This also helps with bald actor, and, of course, creature/alien
Archer, Gary. Dental Prosthetics Specialist
their speech. At first, they might sound a designs. You could go years without
for Film, dental/teeth information, G.A.
bit different, but this goes away when they needing to do a bald cap, but you should
Enterprises. www.gaenterprises.net.
forget that the veneers are on. You will still know how to do one. You will need to
need to do this only for the first few days apply a bald cap several times before being Ceret, Cristina Patterson. Professional
Normal process time from design to of use. The actor will quickly get used to successful, and it is time consuming. VisionCare Associates, contact lens
fabrication and completion of a set of them, and not need to put them in early. information. www.fx4eyes.com.
We refer to Edward French (www.
veneers is usually one week. In some Soon you will be popping the veneers in
edwardfrench.com) for his instructional French, Ed. “BALD CAP” The Instructional
cases, GA Enterprises can turn them around on-set!
DVD. It’s an excellent source for the Video. www.edwardfrench.com.
130 131
faster, but there are certain rules to using demonstration and application of bald caps.
ON-SET TOUCH-UPS
dental acrylics, and attempting to rush or Ed gives great information and instruction, Myers. Kenny. Premiere Products, Inc.,
On-set, you will need to bring with you:
speed up the process usually produces bad and it is fun to watch. We feel you will Green Marble Stretch and Stipple.
results. • A dental case: the veneer case for each pair greatly benefit from a visual lesson rather www.ppi.cc.

D E S IGN
of veneers working than the text lesson in the area.
CARE OF ACRYLIC VENEERS Richard Dean Rdean1028@mac.com
• Latex gloves
Gently rinse under cool tap water, and store Huston Mercer tracterproject@aol.com Mark
• Nonlatex gloves REFERENCES
in the case provided for each set. Add a Traynor Lifts and BeautyBand
small amount of mouthwash in the case to • Bottle of mouthwash Glavan Richard Corson James. 2001.
keep them fresh tasting. Blocking Out Eyebrows With Plastic Film, Stage
• Bottled water
Things to know as a Makeup Artist working • Paper towels
with veneers:
If you need to remove veneers on-set, put
• You will need to work with latex or gloves on and remove the veneers, placing
nonlatex gloves on. them in a paper towel or directly into their
• Ask if the person has an allergy to latex, case. Sometimes you have to be the one to
and what flavor preference they have for actually remove the veneers from the actor’s
mouthwash. Mouthwash helps to keep the mouth. The actor can’t do it. Regardless of
veneers fresh, as well as being great for a who takes them out, they will need to be
fast rinse on-set if needed. rinsed and stored properly. Ask the actor
to please not drink hot coffee or tea while
• You will be putting in, as well as taking
wearing veneers.
out, the veneers. Always wear gloves. This
is also necessary on-set. Sometimes the
actor will want to do this, but there are BALD CAPS
always moments when the Makeup Artist Bald caps can be helpful in creating old age
must be prepared to do this. to show hair loss. Used in conjunction with
9
Hair

© MARY BIRCHLER DESIGNS

 In the film and television industries, the will be hired for jobs in which there is no Erwin H. Kupitz is a Makeup Artist and Once all the script information is collected,
Makeup Artist is responsible for anything available budget to “hire out” specialists, Wig Maker. He trained in a classic German the design process starts. You will need:
that is applied to or glued onto the face; this so the Producers will hire a Makeup apprenticeship, which includes a unisex
• A template or live cast of the actor
includes facial hair and sideburns. Department that can handle all the makeup hairstylist license, makeup artistry, and
needs. This is an example of what can wig making for five years, with three • A hair sample from the actor
happen if you do not have all the skills examinations and one final examination. • Reference of the final look to be created
IATSE Local 706’s general definition of required to be a professional, especially in Unfortunately, there is no longer an
• Approval of the design
Makeup Artists: “Makeup Artists perform the the beginning of your career. You most likely apprenticeship program of this magnitude
will be working on projects that have small in the United States. This is a wonderful • Approval from Production on cost, and a
art of makeup, which includes:
budgets and cannot “hire out.” method of training becauses the learning purchase order issued with instructions
Application of all moustaches, chin pieces, side period is long, and the practical experience for billing
burns, beards, false eyebrows and lashes.” Remember, those Makeup Artists that do
is invaluable. Erwin did specialize when he
specialize have done so after achieving a
migrated to the United States, after seeing PRO TIP
level of experience in all areas, prior to
134 the need for wig making and facial hair, and 135
specializing in one area of makeup design When ordering anything, you need a pur-
There are many professionals who do not recognizing that Hollywood had evolved
that is their forte or passion. It is in your chase order number to give to the vendor.
feel that hair experience is necessary in into an industry with specialization for each
best interest to learn all of the skills This gives the vendor permission to start

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today’s market, because Hollywood has area of makeup.
required to become a well-rounded Makeup work, and is a guarantee of the agreed-upon
become so specialized. We disagree, and feel
Artist before deciding if you want to Erwin will guide us through the design, price and payment.
that in order to be a professional Makeup
specialize in one area, or that a particular laying of facial hair, and lace facial pieces.
Artist working in film and television, you
area of makeup design is not for you. Doing Things to think about before hand:
need to learn the skills for working with
so will give you a more complete education, • What is the period of the project (current,
facial hair. If, at some point in your career, TEMPLATE
and the essential background experience past, future)?
you choose to not polish these skills or to When possible, have the Wig Maker do the
that you will need in the film and/or
not use them, and prefer to “hire out” or not • Who will wear it, and what medium are template or face cast. This is helpful to them
television industries.
accept jobs requiring these skills, that will be you working in? in making their pieces. If it is not possible
your option. Not learning to work with facial Most Department Heads will hire a Makeup • How many shooting days? to have them come to the set, or if you are
hair will limit you. Until you have the Artist that is skilled in everything, so they on location, knowing how to make a
• Interior or exterior, rain or snow? What is
working experience to know what your forte do not have to worry about the makeup template will save you time and money.
the climate?
is, it will take experience and exposure to all designs that you are assigned. For example,
areas of makeup artistry. So, learn all the there will be those accidental moments
skills that are required to be a professional when an actor shows up in the morning and MAKING A FULL-BEARD TEMPLATE
PRO TIP
Makeup Artist before deciding what suits has shaved off his mustache or has changed by Erwin H. Kupitz
The questions affect how many pieces are
you. Having a working knowledge of all the shape of his sideburns. In this instance,
made, and how much hair you need.
aspects of your field not only makes you a your film continuity will not be affected HOW TO MAKE A PROPER
well-rounded professional, but is extremely because you are able to fix the problem by FULL-BEARD TEMPLATE OF AN
beneficial during conversations with laying hair or applying a lace piece. As a ACTOR’S FACE
Producers and Directors on how to create well-rounded Makeup Artist, you will have If it is a reshoot, and you are matching
Materials and Tools Needed:
certain looks. It is not uncommon today to the skills and resources to take care of the something that was shot one year ago, what
• Eyebrow pencil
“hire out” jobs that require a high level of situation—not to mention that the actor will are you going to match to as far as shape
skill and expertise; it saves time and money be relieved and pleased by your ability to fix and color? Is there a good photo for • Plastic wrap
to have the best. Early in your career, you the problem. Accidents do happen. reference? • Clear tape or matte tape
 • Permanent markers Take special care below the chin and
• Scissors around the neck, making sure that the taped
plastic wrap is tight. Two to three layers
• Baby oil or makeup remover
would be appropriate.
• Tissue or cotton pads
• Camera (digital or instant)

136 137
FIGURE 9-3: EYEBROW PENCIL MARKING OF BEARD FIGURE 9-5: BEARD COVERED WITH A SINGLE LAYER
SHADOW ON ACTOR’S FACE OF PLASTIC WRAP

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FIGURE 9-1: ERWIN H. KUPTIZ’S WORK STATION
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
First, cover the actor with a cape. FIGURE 9-7: TAKE SPECIAL CARE AROUND THE CHIN
a proper fitting of the lace beard around the
FOR A TIGHT FIT
chin.

FIGURE 9-4: CHIN VIEW OF EYEBROW PENCIL MARKING

Cover the beard area (and disregard the

mustache for now) with a single layer of
FIGURE 9-2: ACTOR COVERED WITH CAPE
plastic wrap, and secure with tape on the
top of the actor’s head. Make sure that your
FIGURE 9-6: USING CLEAR TAPE OVER THE PLASTIC
Using the eyebrow pencil, follow the beard eyebrow pencil notes (markings) are all
WRAP FIGURE 9-8: CHIN FULLY TAPED
shadow of the actor, and mark it on his skin. covered with plastic wrap.
 Now proceed to the sides of the beard, and After the full beard is done, do the same to Now cut out the beard template above the
cover again with two layers of tape. Use a the mustache, lip piece, and two connector permanent marker lines about 2 mm to
permanent marker to trace the eyebrow pieces between mustache and chin. 3 mm, and try the entire template again.
pencil markings onto the tape. Take special care around the chin. The
template should lay tight around the chin
and below the chin, and should lay flat onto
the actor’s hair at the sideburns.

138 139
FIGURE 9-15: CLEANING MODEL

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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
FIGURE 9-11: MUSTACHE LIP TAPE
FIGURE 9-9: FULL BEARD WRAP 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 final 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
finished, 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
FIGURE 9-10: SIDE VIEW FULL BEARD TAPE FIGURE 9-12: LIP DETAIL
sides. Clean up the actor’s face. works well on a clean-shaven face.
 Material and Tools Needed: After all markings are done, use small pieces
• Masking tape of masking tape, and apply one or two
layers over the marked areas. Try not to use PRO TIP
• Eyebrow or lip pencils
more than two layers because this would Use a loose face powder and powder
• Scissors
be too much of a buildup. In this brush to powder removed tape pieces.
• Loose powder and powder brush demonstration, sideburn and chin-beard
• Towel extensions and the addition of a lip piece
are created.
Procedure
Using the lip or eyebrow pencil, mark all
facial-hair additions or trace the natural FIGURE 9-19: A WARM TOWEL AGAINST THE CHIN TAPE

growth pattern and shape of the model’s

facial hair. If needed, different colors help to
140 design new shapes or mark special patterns. 141
After the pressing and rubbing is done,
start carefully to remove the tape from the
face. The markings are transferred into the

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tape.

Remove the tape carefully from the face.

FIGURE 9-21: USING LOOSE FACE POWDER AND
POWDER BRUSH ON REMOVED TAPE PIECES
FIGURE 9-18: SIDEBURN, CHIN BEARD EXTENSION AND
LIP PIECE WITH TAPED AREAS

The beard template can now be cut out and

applied to a beard block, ready for making
Using a warm towel (warmed for 10
FIGURE 9-16: MODEL WITH MARKINGS USING A the lace pieces. After the lace pieces are
minutes in a wig dryer), the areas are
BROWN EYEBROW PENCIL done, it is recommended to store them
wrapped and pressed down tight with your
together with pictures of the actor, as well
hand. The heat of the towel as well as the
as hair color and lace color swatches, in a
pressure from your hands will transfer the
plastic bag or box for future reference.
grease in the eyebrow or lip pencil into
the adhesive. A combination of gentle Tools in the photo of Erwin’s workstation
FIGURE 9-20: REMOVING TAPE CAREFULLY FROM THE
rubbing and pressing for about two to three (Figure 9.22):
FACE
minutes is recommended.
• Cutting comb for combing hair during
If doing a full-beard or chin-beard cut
pattern, special care has to be taken
• Rattail comb for separating and
around the curves of the chin to make sure The removed tape pieces are organized on a
sectioning
the tape is pressed tight against the chin towel and are ready to powder. Using loose
curve. This will ensure the proper shaping face powder, powder the tape pieces to • Small hair clips to secure separations
FIGURE 9-17: MARKINGS FOR SIDEBURN EXTENSIONS
of the pattern and a tight fit of the final lace prevent them from sticking together or • Lifting comb for detangling and lifting
USING A BROWN EYEBROW PENCIL
beard. getting messed up. permed hair
 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 finish base. This adds
durability.

FIGURE 9-22: ERWIN’S WORKSTATION: TOOLS AND The Hair

FIGURE 9-23: CHARACTER LACE BEARD PRIOR TO FIGURE 9-24: A BEARD SEPARATED IN SECTIONS
PRODUCTS TO CUT AND STYLE FACIAL PIECES Use human hair from different origins
CUTTING AND STYLING READY TO CUT INTO SHAPE
(Asian, Indian, European), as well as yak tail
142 and belly hair. Blends of thicker and coarser 143
• Haircutting and thinning shears as well as CONSTRUCTION OF A hair are used at the bottom of the beard for
razor for cutting hair VENTILATED BEARD body. Thinner, finer hair is used closer to

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• Tweezers for eventual plugging and Ventilating is the technique used by Wig the edges.
finishing of hairline Makers to knot hair (either human or
All hair is custom color blended using How to Cut Facial Hairpieces
synthetic) into wig lace. It is similar to tying
• Ceramic iron heater darker colors at the bottom and lighter A good haircut can eliminate half of
a rug, and has been used since King Louis
colors at the edges, then permed using a the styling and maintenance later on.
• Flat curling iron for lifting and XVI of France. There is single knotting and
mild alkaline perm. The diameter of the Because perming is done on the hair, it
shaping double knotting. There are many versions of
perm rod will determine the curling result. needs to be treated like curly hair, which
• Small marcel iron for texturizing and lace, and quality of hair. Most lace pieces in
In this case, a medium to small perm rod is means caution is needed during cutting.
curling film do not use synthetic hair—it does not
chosen for a frizzy, “ungroomed” result. Texturizing and cutting with razor and
look real. The quality of lace and hair and
• Natural bristle brushes for wax and tattoo This will ensure that the beard keeps the thinning shears (cutting different length
the blending of colors are extremely
color shape, and restyling will be limited to a into the hair) will give a more natural
important.
• Pinking shears for precutting the excessive minimum. appearance of “beard hair.” Blunt cutting a
lace The medium of the lace piece, as well as the straight line, especially on the mustache,
design of the facial hair, will dictate what will result in an unnatural “fresh-cut look”
Products in the photo of Erwin’s Ventilating Hair
materials and hair are used. The hairline or that is very “eye-catching” for the camera.
workstation (Figure 9.22): Knotting the preblended and permed hair
beard line is always the finest quality of The proper cut for a beard is as important
into the lace base is done hair by hair
• Mustache wax or stronger hair wax knots to create the illusion of the hair as the proper cut for a hairstyle. If the
(single-hair knotting), using the various
coming out of the follicle. cutting and texturizing are finished and the
• Plastic sealer in pump bottle or a strong, color blends to design natural shading and
permed hair is reactivated with water, let
fast-drying hair lacquer highlighting. Lighter colors are always used
dry naturally.
• Tattoo color for detail work on finished The Base around the edges of the beard (front shade),
beard The base is made of one layer of custom building up more volume at the bottom and The beard shape and style should be
dyed nylon lace using a blend of layers of in areas where denser beard growth appears, almost completed after proper cutting.
• 99 percent alcohol
fabric dye following the manufacturer’s and decreasing the amount closer to the Finishing can be achieved with curling
• Lace pieces directions. Match the actor’s skin color or edges for a natural appearance. irons.
 FIGURE 9-31: MISTING THE PRECUT BEARD WITH
FIGURE 9-25: CUTTING A LENGTH GUIDELINE BY USING FIGURE 9-29: SEPARATIONS FOR CUTTING THE
WATER AND LIFTING HAIR USING A LIFTING COMB
A RAZOR MUSTACHE GUIDELINE AND CONNECTING PIECES
BELOW THE MUSTACHE

144 145

Mist the precut beard with water, and lift

FIGURE 9-27: FINISHED CUTTING AND BASIC hair using a lifting comb, so the curl can go
TEXTURIZING OF FULL BEARD

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back into its permed style. The beard is
then dried in a wig dryer on a low setting:
100ºF, or 45ºC.

FIGURE 9-26: USING THE GUIDELINE REFERENCE,

CUTTING THE HAIR ONTO THAT GUIDELINE

FIGURE 9-30: CUTTING A GUIDELINE TO THE DESIRED

LENGTH WITH THE TIP OF THE RAZOR

Elevating your hand while you razor the

FIGURE 9-28: USING THE RAZOR FOR CUTTING THE LIP
hair will give a layered-hair effect. All hair
PIECE TO THE DESIRED LENGTH AND SHAPE FIGURE 9-32: LIGHTLY WAXING DRIED HAIR WITH
except for the sides of the beard is cut to MUSTACHE WAX AND A BRISTLE BRUSH
this guideline. The sides of the beard are
Cutting a guideline to the desired
blended in length into the sideburn length
length with the tip of the razor cuts the
of the design.
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
 hair is now ready for final styling with the Final touches are done on the texture of the
curling irons and tongs. beard prior to styling the mustache.

To bring the permed texture into shape,

a small marcel curling iron and waving
technique is used. Caution is to be taken
that the texture does not appear like finger
or marcel waves similar to the waves in
hairstyles. Using artistic input as well as
practice, this technique is useful for all
longer beards and facial hairpieces for
FIGURE 9-37: USING TATTOO COLOR AND 99% FIGURE 9-39: A FINISHED, STYLED BEARD BEFORE
building texture, movement, and style.
ALCOHOL FOR COLOR TOUCH UPS REMOVAL FROM THE BEARD BLOCK

146 147
FIGURE 9-35: FINAL TOUCHES ON THE TEXTURE OF hair into the beard color. Be careful not to
Final color touch-ups are done using tattoo
BEARD PRIOR TO STYLING THE MUSTACHE make it too opaque or even too dark. The
color and 99 percent alcohol.
beard line should still be lighter than the

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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 finished beard.

FIGURE 9-33: SHAPING THE FACIAL HAIR AND BEARD

Figure 9.39 is a photo of the finished, styled
WITH A MARCEL CURLING IRON beard before removing it from the beard
block.

SAMPLE APPLICATION OF
FIGURE 9-38: APPLYING TATTOO COLOR WASH TO A
FIGURE 9-36: USING A FLATIRON OR TONGS TO SHAPE A BEARD WITH STUBBLE
BEARD WITH AN EYEBROW BRUSH
THE MUSTACHE AND LIP PIECE
Materials Needed:
• Chin lace piece
Using an eyebrow brush with a lash comb
• Lower lip piece
A flatiron, or tongs, is used to shape attached, a tattoo color wash (more alcohol
the mustache and the lip piece. Because than color, like an aquarelle color drawing) • Sideburns
of the use of perm-textured hair, the similar to the beard’s color is then brushed • Chopped curly hair matching beard color
mustache hardly needs curling. Only the over the lighter shades around the edge
• Scissors, thinning shears
ends at the bottom of the beard are blended (front shade). Brushing and immediate
under. A root lift is applied to the edges combing of the hair will make blending • Metal tail comb
FIGURE 9-34: SHAPING THE FACIAL HAIR AND BEARD
by lifting and sliding a warm flatiron to easy. It is important to keep the knots light, • Adhesive (W.M. Creations, Inc.
WITH A MARCEL CURLING IRON
the hair. while softly blending the ends of the lighter Adhesive)
 • Tattoo color (e.g., Reel Hair Palette) your finger or a brush until flat and 13. After all of your lace pieces are applied, stubble. If you do not follow the natural
• Hair spray tacky. you can start using chopped hair to growth pattern and beard line of the person,
8. Press lace piece gently into place using create a patchy, shorter beard stubble. it will not look real.
• Makeup sponges
your clean rattail. Continue pressing all Lace facial hairpieces require an In some cases, the actor’s own beard growth
• Brushes
edges until they are smoothly glued investment of time and money that pays off and growth pattern is minimal or sparse. You
• Alcohol, 99 percent down to the skin. in the long run. The work and materials will still need to follow the person’s own
• Cotton swabs 9. Apply the lip piece in the same manner. used are expensive, but the result is a more beard as a guide. If you choose to add more
Because it is very small, you probably natural, consistent look, with easy to make the stubble read better on camera,
• Makeup cape
don’t need to use the concealer pencil. maintenance. be careful—your stubble will look unnatural
• Concealer pencil in skin tone matching
Placement of a lip piece should be if you add or fill too much on an actor with
actor BEARD STUBBLE
easier than the placement of a larger sparse growth.
beard piece. As with everything else in makeup, there are
Steps for Application: Hair color for beard stubble needs to be
several ways to create beard growth that
148 1. Start with a clean face. 10. Apply the sideburns in the same a blend of colors, with highlights and 149
looks like more than several days of growth.
manner. It is important that you lowlights—and in some cases, a bit of
2. Start applying the chin beard. Check its There are different products and techniques
position them directly at the bottom of auburn or red added. Use caution with
placement, and use the concealer pencil to use, depending on the situation you are

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the actor’s own sideburns, without a adding too much red to your blend—this
to mark dots where the edges of the working in. As with all areas of makeup,
gap in between. can look too artificial, even if the actor has a
piece belongs. you will need to be able to answer critical
11. Cut the sideburn hair to match the lot of red in his own beard.
3. Brush a thin layer of adhesive onto the questions before designing or choosing what
actor’s own sideburn hair at the same to use. The hardest beard growth to Careful hair color blending with proper
skin, staying about 1 cm below the
length, using thinning shears. simulate is between five and 10 days, too placement will sell the look. We will look at
markings of the lace piece edge.
12. Brush in a little tattoo color to blend long to be painted in, and not long enough creating beard stubble by using a hair ball, a
4. Stipple adhesive with your finger until
possible color differences between the to use lace pieces. You will need to use one lace net, and a makeup brush.
tacky. Apply a thin second layer and
actor’s hair and the false sideburns. of several techniques to create the look and
repeat. Be careful not to get adhesive ERWIN KUPITZ’S HAIR BALL
length needed. The length of hair for beard
over the concealer marks. METHOD
stubble will depend on what the length of
5. Glue the lace piece in place using your time passage is, or how scruffy the look is The chopped hair should be no longer than
rattail comb. It is important that you PRO TIP designed to be, or how many “story days” in 0.5 cm, otherwise it will be very hard to
press with the tail in between the hair the script that the actor has not shaved. The apply.
at the base of the lace. Make sure you Lace facial hairpieces for HD are much
actor’s own beard growth and density will
more difficult because the high definition Prepare the chopped hair by making little
do not glue down the beard hair flat also effect your decisions.
shows every detail so crisply and sharply. hair balls of about the size of a walnut. The
against the skin. This will take a few
The lace pieces have to be designed in What is the growth pattern like, what color chopped hair is placed in the palm of your
minutes, and a bit of practice.
sections that puzzle together onto the is the hair, how old is the beard growth, hand and then rubbed in a circular motion
6. Use a cotton swab dampened with and how many days will you have to between your two palms until a ball is
face, with a lower hairline edge that has
alcohol to carefully remove your recreate the look? These are all questions formed. This can also be done in advance to
to be overlaid with hair by hand to finish
concealer markings. you will need to have answers for. Look at save time. If you do so, spray the prepared
off the edge of the facial-hair design. The
7. Use a new cotton swab or a finer glue must be totally matte. the growth pattern of the actor—this is your hair balls lightly with hair spray, and store
brush to apply a very thin layer of guide for placement of hair stubble. This is them in a plastic box until you are ready to
adhesive to the skin. Tack it with very important in creating realistic beard use them.
 Hair Ball Application: 5. Before the adhesive dries, pull the lace With a clean, medium-sized makeup brush,
1. Apply only one layer of adhesive, up and away from the face, leaving the pick up the desired amount of chopped hair
starting close to the chin lace piece. cut hair behind, standing straight up or from the tissue by dipping the brush into
2. Stipple adhesive with a makeup sponge at the angle the lace net is pulled off the the hair on the tissue.
until flat and tacky. skin.
Using a quick, light motion with the end of
3. Quickly pull one of the hair balls apart, BEARD STUBBLE WITH BRUSH the brush, apply at a slant to the beard area.
and you will notice that the short hair is The quick hand motion, or stipple, needs to
For stubble looks by hand, you can choose
sticking out of the ball where it has been barely touch the skin to create a raised
to use a medium-sized makeup brush or
separated. beard area. If you hit the brush with too
a small atomizer, with a matte spirit
much pressure, the hair will stick flat. It
4. Lightly touch the adhesive with the gum adhesive or beard stipple wax by
FIGURE 9-40: MODEL/ACTOR BEFORE BEARD helps to have a bit of static electricity in the
standing hair, and pull the hair quickly KRYOLAN. We will show you this
makeup brush. You can get static in your
away from the face. The short hair will technique using the makeup brush and
brush by rubbing the brush quickly back
150 adhere to the face, and it will stand out stipple wax. The wax is clear on the 151
and forth over a towel.
like real beard hair. Do not press hair flat skin no matter what skin tone, and has
to the face. If you do, it will look very no shine whatsoever. This is a huge Go back with a small, stiff brush

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unnatural. advantage for HD and close-up work. If you or tweezers, and lift any hair that is
5. Continue this process until you have use spirit gum, we recommend W.M. not sticking out straight. You do not
finished your design. Creations, Extra Hold Matte Adhesive. Blend want any hairs to be laying flat against the
and prep your hair using at least two colors skin.
6. After all of the hair has been laid,
of hair.
spray a light mist of hair spray over the Sometimes there can be clumps or patterns
beard. Be careful not to point the bottle Lay white facial tissue on your workstation that you will need to thin out.
straight into the actor’s face. Have the or counter.
Be gentle. This application is fragile, but
actor hold his breath and close his eyes FIGURE 9-41: MODEL/ACTOR IN CHARACTER (AFTER
Wet your hair with a small amount in your easily touched up.
while you are spraying the beard. Make BEARD)
hand. Hold over the tissue, making uniform
sure that you mist only the hair and not Remember, with all hair applications, to
cuts to the hair, so that the chopped hair
the skin, because this could create a stand back and really look at your work, as
drops onto the tissue.
sheen effect, and it is very uncomfortable MATTHEW MUNGLE NET well as getting up close to the skin and
on the skin. LACE METHOD: Let the chopped hair dry on the tissue. checking. Check your work in the makeup
mirror from all angles, by rotating the actor
For actors and beards with a curlier texture, 1. Apply spirit gum adhesive to the surface Remember, it is best to cut the hair when
around.
you can use chopped permed hair, and you of the beard area to be stippled. wet, and to take care making each cut the
don’t have to build a hair ball out of it. same size. If you believe it up close, so will the
2. Press down with a soft cloth to take out
Chop the hair to about 0.5 cm length, and or matte the shine of the adhesive. camera.
There is a tendency to make your cuts too
apply it directly to the skin. Because of the long. Look at your first cut of hair to check
3. Lay down a piece of hair lace into the GLUES
curly texture, it cannot lay flat. length. Hair needs to be completely dry
adhesive. In film, television, and HD, use only matte
before being applied to the face.
Your character’s beard application using lace 4. While the chopped hair is still wet, press adhesive. The application is very important
pieces in combination with chopped hair is it into the lace using a stiff makeup Apply beard stipple wax over the beard area because any shine or glow from the
now complete. brush, sponge, or atomizer. of the face where you want to apply hair. adhesive under the lace piece will register.
 This will cause the viewer to realize it is not adhesive left on the lace can be removed by Silicone-Based Adhesives: Use special from kinky straight (Asians, Indians), to
real facial hair. the following steps: 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
W.M. Creations, Adhesive is lightweight 1. In a saucer or plate filled with the these cleaners, and let soak for a few wig lace is custom permed before
but strong. It is greenish in color during cleaning agent about 1/2 inch deep, lay minutes to dissolve the oil. Remove, do not ventilating into the lace, and therefore will
application, but dries clear. the pieces in the solution with the lace comb, and let dry without stretching the not turn straight if it gets wet or during
K.D. Spirit Gum is a processed spirit gum, facing down (hair up). Try not to have lace, on a clean towel. After the facial hair is cleaning.
and works very well with lace pieces. the hair covered entirely by the cleaning completely dry, it can be re-dressed.
solution. Let it set for one to two Quality facial hair takes all kinds of hair
minutes. The heavier the adhesive, the Latex-Based Adhesives: Need a heavy oil origins into consideration, and the
ALTERNATE ADHESIVES longer it needs in the cleaning bath. and alcohol mix. Try a mix of baby oil and texturizing creates the look of real facial
Telesis comes with its own thinner, and alcohol (1 : 1 ratio). hair. The color design enhances the
2. Lay the piece on a towel, but try to
the application is slightly different from simulation of the facial hair, again creating
avoid pressing the hair flat. A stiff bristle brush is used to brush off the
spirit gum. The brush usually has to be the illusion of a real beard.
152 residue of the latex—this is labor-intensive. 153
3. Dip the brush into the cleaning agent,
dipped into the thinner, then into the
and brush out any leftover adhesive from Beard Stubble Wax: Cannot be used with
adhesive. REFERENCES
the lace. lace pieces as an adhesive. It is a tacky wax

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All of the adhesives dry very fast, and are Cimuha, Inc.
4. Important: Always follow the direction of paste, and the lace hairpiece would not
not recommended for use by the beginner. Erwin H. Kupitz, Wig Maker
the knotting on the lace. Example: On a successfully stay on.
Design, laying of facial hair and lace facial
mustache, brush from the nostrils down
pieces
ADHESIVES TO AVOID to the upper lip. HAIR TEXTURE Tel: 818-769-6465
Any kind of latex-based adhesive should be Very important: Never brush against the All facial hair needs to be texturized before
avoided. It is impossible to clean it from the knotting. This results in opening the knotted applying it to the face. The texture varies
lace without the danger of destroying the hair, and the knots wll appear larger and
lace piece and its edges. eventually fall out.
Exception: If you have a new lace piece for 5. After the entire adhesive is removed,
each day, for all of the shooting days the place the pieces on a clean towel and let
facial hair works—in other words, the lace evaporate for 10 to 20 minutes.
pieces are not reused the next day. If it is a
The pieces are ready for blocking and any
small piece, Pros-Aide usually works better
re-dressing.
than latex adhesives.
The cleaning agent is different,
CLEANING THE LACE depending on the glue and/or adhesive
being used:
Once the lace pieces have been removed
from the actor, you will need to clean the Classic Spirit Gum: Easy cleaning with
lace and re-dress the pieces. With classic a mix of 99 percent alcohol and acetone
spirit gum or lightweight adhesives, the (1 : 1 ratio).
actual removal of the lace from the skin also
removes some adhesive from the lace. Any Matte Adhesives: 99 percent alcohol.
10
Airbrush

© MARY BIRCHLER DESIGNS

 Airbrush makeup is now a major tool in 2. The mechanism for feeding the paint FEEDS
creating certain looks, especially a flawless into the airbrush. Gravity Feed: Refers to airbrushes with
finish to the skin. Airbrush makeup has also 3. The point in which the pressure top-mounted color cups in which gravity
found a niche in the retail cosmetic world. (PSI) and air mix. (PSI means draws paint into the airbrush. Less air
It is used in all areas of makeup: beauty, pressure is required, enabling slower hand
measurement of air pressure, pounds per FIGURE 10-1: BADGER AIRBRUSH MODEL 100G
body makeup, body art, tattoo cover, square inch.) movement, which creates excellent control
bruising, effects, and fantasy. Airbrush is for fine detail.
used in all media—print, film, television, There are two different ways an
and theatre—and is a mainstay in HD and airbrush mixes with paint, allowing you to Bottom Feed: Refers to airbrushes on which
HDTV. Airbrushing gives a flawless finish to airbrush: paint enters through a siphon tube or color
your makeup. The airbrush machine is a cup attached to the bottom of the airbrush.
Internal Mix: The paint and the air mixes
tool that is going to be a personal preference Removable jars or various-sized color cups
together inside the head assembly to
for the artist and the actor/talent that you can be connected to and utilized with FIGURE 10-2: BADGER AIRBRUSH MODEL 100MU
produce a thoroughly atomized fine-dot
156 are working with. In some situations, or in bottom-feed airbrushes. This configuration 157
spray pattern.
makeup design, you will have to airbrush is generally more versatile and enables the
to create the look that is needed. In other External Mix: Indicates that air and paint user to change colors quickly. This is
situations, the Department Head will require mix outside the airbrush. Air and paint important when working with several colors
you to airbrush. You would be at an come together outside the head, or fluid at once. This enables the artist to move

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extreme disadvantage to not learn how to assembly. External-mix airbrushes produce quickly when changing colors, as well as for
airbrush and care for the equipment. a larger-dot spray pattern than internal-mix storing colors during use.
airbrushes. FIGURE 10-3: BADGER AIRBRUSH 360 UNIVERSAL
What is an airbrush? An airbrush is a small, Side Feed: Refers to airbrushes on which
air-operated tool that sprays various media, a small color cup fits into the side of the
AIRBRUSH TRIGGERS airbrush. The side-feed color cup rotates,
including ink and dye, but most often paint,
by a process of atomization. An airbrush Single Action: Refers to airbrushes on enabling the user to work on either a
works by passing a stream of fast-moving which the trigger controls only the airflows. horizontal or vertical surface. The side-feed
(compressed) air through a venturi which When the trigger is depressed, a preset configuration also permits the user to
creates a local reduction in air pressure amount of fluid is sprayed. The amount of achieve fine detail without the possible
(suction) that allows paint to be pulled up fluid is regulated by turning the needle sight obstruction of a top-mounted color
FIGURE 10-4: AIRBRUSH MODEL OMNI 5000
from an interconnected reservoir at normal adjustment screw at the back of the handle, cup.
atmospheric pressure. The operator controls or, in the case of an external-mix airbrush, Hybrid Airbrush: Airbrushes that have a
the amount of paint by using a trigger that by turning the fluid cap on the paint tip at combination of gravity and bottom feed. Badger 360 Universal: Airbrush is capable
opens a fine-tapered needle. the front of the airbrush.
of performing in a gravity-feed as well as a
Dual Action: Refers to airbrushes on which AIRBRUSHES bottom-feed mode (Figure 10.3).
UNDERSTANDING YOUR AIRBRUSH the trigger controls both air and color
Badger Model 100G: Gravity-feed airbrush Model Omni 5000: Gravity-feed airbrush
by Badger (down for air, back for color). This simple
with 1/16-ounce color cup (Figure 10.1). with 1/8-ounce color cup (Figure 10.4).
maneuver allows the artist to change the
Airbrushes have three usual characteristics:
width of the line, the range of value, and Badger Model 100MU: Airbrush with Paasche VJR #2: Gravity feed, double
1
1. Action performed by the user triggering the opacity of paint without stopping their /3-ounce color cup and makeup-specific action, internal mix. Airbrush used to create
the paint flow. hand motion. head assembly (Figure 10.2). a wider range of tinting, shading, and
 Fine-spray output and entire range of COMPRESSORS compressor also has dual quick-disconnect
stippling effects. Airbrush has a short paint Terms Used With Compressors ports and dual built-in airbrush holders.
passageway. CFM: Measurement of airflow. Iwata Power Jet Lite: Adjustable pressure
Iwata HP-CH: Designed for artists who regulator, moisture filter, and built-in
Moisture Filter: Removing water from air.
FIGURE 10-5: PAASCHE AIRBRUSH VJR #2
need control for detail work. Airbrush uses airbrush holder.
new Micro air-control-valve technology. Oil Filter: Removing oil from air.
Iwata Silver Jet: Compact and quiet single-
Iwata HP-CS: Gravity feed with 0.35 mm PSI: Measurement of air pressure. person use with working pressure adjustable
needle and nozzle combination for fine- from 10 to 18 PSI. The compressor has a
Air Regulator: Adjusting air pressure.
detail spraying. Generous-sized cup and coiled air hose, pressure-adjustable knob,
funnel shape. Iwata Smart Jet Pro: Compressor shuts off handle, airbrush holder, and pressure gauge.
Iwata HP-CR: Gravity feed designed for automatically when not in use. It has an oil-
less piston air compressor with built-in Iwata Sprint Jet: A mounted air-pressure
quick change of custom mixed colors.
airbrush holder; moisture filters (removing gauge with a bleed-valve airflow adjustment
158 FIGURE 10-6: PAASCHE AIRBRUSH VSR90 #1 Internal-mix airbrush, ergonomic handle 159
water from air) with an air regulator (adjusts to lower air pressure. Pressure working from
design, fine-detail work, and easier spraying.
air pressure); and bleed-valve adjustment to 1 to 35 PSI. Zero maintenance with an oil-
release moisture. less piston air compressor.
details. Color cup is on top for easy color
changes. Good for both right- and left-

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handed users (Figure 10.5). PRO TIP
Airbrush eye shadow is best applied with
Paasche VSR90 #1: Gravity feed. Unique PRO TIP PRO TIP
an airbrush with a very fine needle/nozzle
two-to-one design allows for quick color Compressors with built-in airbrush
ratio like the Iwata High performance HP- Makeup companies (such as Mac Pro and
changes by including two different-sized holders are extremely convenient when
B, which is 0.2 mm. Although much too Obsessive Compulsive Cosmetics) which
color cups. Cups attach to top of airbrush working in a makeup trailer, especially
light to apply foundation, it gives you the offer small portable compressors often
assembly and swivel left or right for if you are working with an airbrush with
ability to keep your colors focused. Fine- use the Iwata Series.
unobstructed view. Suited for both left- and a top color cup.
needle/nozzles are popular for lining eyes,
right-handed airbrushers (Figure 10.6).
and for effects artists for veining. An ap-
Iwata HP-C Plus: Large gravity-feed cup propriate needle/nozzle range for most
with a large needle-nozzle configuration. airbrush makeup, both face and body, is Paasche DAS 00: 1/8-horsepower diaphragm
Iwata Power Jet: Compressor has oil-less
8 mm + 5 mm, with the wider aper-tures compressor with auto shutoff. Shuts off
dual-piston air with a 3.5-liter air-storage
leaning toward the body makeup end of when airbrush is not in use.
tank. It has zero pulsation, moisture filter,
things. The smaller the nozzle, the more
and a mounted pressure gauge with air Paasche D100: 1/8-horsepower compressor
PRO TIP control you have. When the nozzle is
regulator for precise air-pressure adjustment. delivers 15 to 25 PSI with most model
too small, the application will take longer
Makeup Artists often use airbrushes that airbrushes (Figure 10.7).
than necessary unless you need to focus Iwata Power Jet Pro: A compressor with a
have stipple features for effects work. 2-liter air-storage tank with zero pulsation Paasche D3000: Oil-less diaphragm
the range of space you are working on.
Temptu offers a large selection of Iwata and an air reserve for spraying at higher compressor with tank-mounted unit,
—David Klasfeld, CEO/Creative Director,
products. air pressures. It has dual adjustable pressure designed for compactness and portability.
Obsessive Compulsive Cosmetics, Inc
regulators plus dual moisture filters and Air tank stores reserve air volume and
dual mounted pressure gauges. The reduces pulsation. Air pressure in the tank is
 FIGURE 10-9: BADGER MODEL 80-3 MINI
COMPRESSOR

FIGURE 10-7: PAASCHE AIRBRUSH D100 FIGURE 10-11: BADGER MODEL 80-8X AIR
COMPRESSOR
160 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-

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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
FIGURE 10-10: BADGER MODEL 80-7XAIR
make airbrushing intimidating. Air Craft,
air hose.
COMPRESSOR Air Pro, and Dinair are a few of the
portable-airbrush companies on the market Dinair Mini-System Beauty Kit:
FIGURE 10-8: PAASCHE AIRBRUSH D3000
today. Compressor weighs less than a pound. The
system comes with a travel adapter (100 to
regulated with an automatic On/Off switch 240 volts), and has a PSI of 0 to 7. The
to a maximum of 40 PSI (Figure 10.8). airbrush is a Dinair 400CA. Also included
PRO TIP
are stencils, instructions, and makeup
Badger Model 80-3 Mini Compressor: PRO TIP
In general, use compressors with a (Figure 10.13).
Produces 3 to 5 PSI (Figure 10.9).
lower PSI or compressors that allow you to Small compressors with an output of 6 to
Badger Model 80-7xaIR Compressor: adjust the settings for direct airbrushing 8 PSI are perfect for the face and small AIRBRUSHING PRODUCT LINES
Produces 10 to 12 PSI (Figure 10.10). on the face. The higher the PSI, the more areas of the body, such as covering tat- by Bradley Look
kickback you’ll get from the product. toos.
Badger Model 80-8x Air Compressor: People ask me all the time of the dangers
Produces 10 to 12 PSI with built-in of airbrushing. There is an unfounded fear
regulator (Figure 10.11). about the airbrush. What I usually find is
 dispersed in water. Water is the most DHA Based: Although technically not really Dinair: There are three product lines
common solvent found in cosmetics, and is considered an airbrush makeup, DHA available through this company: polymer
usually referred to as aqueous dispersion. (dihydroxyacetone) based products water based, polymer SD40 alcohol based,
Polymer-Water-Based: This cosmetic constitute the sunless-tanning systems. The and DHA. An airbrush cleaner is also
formulation is one of the more commonly use of the airbrush in spraying cosmetics manufactured.
used for airbrush makeups. Once the gave the sunless-tanning manufacturers an
Duratat: A water-based tattoo ink
makeup is airbrushed, the polymer vehicle idea: Why not produce a formula that can
containing no alcohol.
FIGURE 10-13: DINAIR MINI-SYSTEM BEAUTY KIT upon drying produces a continuous film on be atomized?
the skin. Fantasy Faces: Polymer SD40 alcohol
Now let’s talk about makeup and what is
based formulation. Thinner for product also
Polymer-SD40-Alcohol Based: This is just on the market today. Products are listed
that airbrushing is not being properly available.
like the polymer-water-based formulas (as by their brand name and/or by the
sprayed in some of those cases, which leads
listed above), with one major difference. manufacturer’s name. All of the products Fashion Aire Foundation: Polymer water
to many of those problems. As a Makeup
SD40 alcohol is used as the solvent in place listed are prereduced to a consistency for based and sunless DHA formulation. An
162 Artist, it is your responsibility to stay 163
of water. The alcohol assists in the drying of spraying straight from the bottle. However, airbrush cleaner is available.
on top of the most current information
the product on the skin. if you should desire to thin the product
and how products interact with each other. Graftobian: Polymer water based as well as
further, check with the manufacturer first.
Airbrushes, compressors, and airbrush Alcohol Based: This type of airbrush polymer SD40 alcohol based. Both thinner
Also, these products have been formulated
makeup all have instructions, plus makeup is normally known within the and airbrush cleaner are available.
to be atomized at a low PSI (pounds per

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suggestions on how to use their products so makeup industry as the “temporary airbrush
square inch), usually between 3 and 6. JanTana: DHA sunless tanner.
you’ll get the most from airbrushing with inks” associated with the production of faux
Using the right product for the right job
success. Before you start using that airbrush, flesh art (tattoos). Jomo: SD40 alcohol based.
means a good makeup.
know what makeup is available and, more Silicone Based: This is the newest formula
important, what kind of makeup you are Kett Cosmetics: Water based and polymer
of all the airbrush makeups currently Airbrush Bodyart: Airbrush product
buying. What is in airbrush makeup? SD40 alcohol based. An airbrush cleaner is
available. This brand of cosmetic claims that available in both water and alcohol
also available.
it stays looking “just applied” all day formulations. DHA tanning system offered
Here are the six formula breakdowns of
without fading or wearing away. as well. KRYOLAN: Currently, kryolan has a
airbrush makeup available:
polymer water based and an SD40 alcohol
Airmakeup Cosmetics: Polymer water
Water Based: This type of makeup is not based product line.
based product.
unlike the standard liquid variety: finely
ground cosmetic-approved pigments PRO TIP MAC Airbrush: Polymer water based and
AirPro Airbrush Makeup: A water-based
silicone SD40 alcohol based.
Silicone-based products that you want formula. The company also has a sunless-
to thin so you can alter the coverage can tanning solution. Airbrush cleaner available Make Up For Ever: Water alcohol based.
be thinned only with formulas that work for line.
Mancini Airbrush Makeup: Water based
PRO TIP with silicone. (Example: Mac Pro has an
Air Craft: A water-based formula. and offers an airbrush cleaner.
Water-based makeup makes cleaning airbrush cleanser that also works as a
your airbrush equipment easy. Just clean thinner to their silicone-based airbrush Bodyair: Polymer water based line of Marvaldi Makeup: Water-based
after each use with water. makeup.) products. formulation.

DCK Airbrush Cosmetics: Polymer water Michael Davy Airbrush Makeup: Polymer
based product line. SD40 alcohol based.
 Mist Mirage: Silicone SD40 based, as well not adhere or cover well when thinned with
as DHA sunless formula. An airbrush the product she was using. It turns out
cleaner is also available. the makeup is silicone based, which has a
chemical reaction to the product she was
O2 Cosmetics: Water-based formula. Also
using as a thinner. Some silicone-based
available in a DHA sunless tanner.
makeups do have thinners to go with their
Obsessive Compulsive Cosmetics: Water product line. The same can be said of any of
based and SD40 alcohol based. the above makeup brands mentioned. Here
are a few airbrush makeup tips I have found
Reel Creations Body Art Inks: SD40
to work over the years. FIGURE 10-15: AIRBRUSHING IN A CIRCULAR MOTION FIGURE 10-16: TISSUE OR SHIELD
alcohol based line.
1. Less is more when airbrushing. The
Safari Airbrush Makeup: Polymer-alcohol-
makeup should not feel like a mask.
based formula. DHA sunless tanner also in
natural if the person airbrushing is quite AIRBRUSH LESSON FOR
164 the line. 2. Use a PSI of 3 to 6 when airbrushing the 165
skilled.) BEAUTY MAKEUP
face. If you airbrush with a stronger PSI,
Skin Illustrator Colors: SD40 alcohol there will be a larger quantity of “bounce 6. When airbrushing the face, spray in by Kris Evans and Darla Albright
based formula line. back” of the product into the air. small, circular motions (Figure 10.15). Makeup Artists Kris Evans and Darla
Stacolors: SD40 alcohol based product line. 3. Hold the airbrush at a downward 45- This keeps the makeup even. Albright developed Air Craft Cosmetics to

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degree angle when airbrushing the eye 7. Have a folded tissue or shield to protect meet the needs of the professional Makeup
Su-do Body Art: Polymer water based,
area on the talent (Figure 10.14). Of the hairline from overspray of makeup Artist as well as the consumer. From their
SD40 alcohol based, and DHA in product
course, have the actor close their eyes! (Figure 10.16). Do not add tap water vast experience in film, television, theatre,
line. Airbrush cleaner available.
to a water-based makeup to thin. Use HD, and print editorial, they felt a need to
4. If you are going to airbrush on the
Temptu: Water based, polymer water distilled water. Tap water contains develop a product that could be used with
eyelid, use a PSI of 3 or less.
based, polymer SD40 alcohol based, and minerals that can contaminate or or without an airbrush. Kris Evans:
silicone SD40 based. An airbrush cleaner is 5. Using stencils when airbrushing works
compromise the chemistry of the
also available in the line. well for eyebrows. (Note: Freehand I use the airbrush on everything and
makeup.
actually works better and looks more find it much faster and easier. With HD
Totally Tattoo Party Body Paints: Polymer
becoming so popular, there is nothing
water based.
better than the airbrush. Many of my
Trendy Tribals: Polymer water based. clients also do red-carpet events that
are mostly shot in HD. HD can be very
uslu airlines: Polymer water based. PRO TIP
harsh, so it is imperative the makeup be
Remember to keep in mind that not all Read the ingredients of products you buy. flawless. I really believe you must use the
brands interact well with each other. So Many of the cosmetic and airbrush com- correct color in the foundation for the
don’t try mixing together two different panies have products that work well with look to be natural. Easy touch-ups are
manufacturers’ product lines—their each other. Know what you are buying. also essential, which is why we created Air
chemistry may not be compatible. A classic You’ll have the best results possible when Craft Cosmetics. On set, I usually use a
example is thinners. A Makeup Artist wrote airbrushing. makeup brush for touch-ups. Because the
to me to say she was having a hard time foundation can be used with or without
FIGURE 10-14: AIRBRUSHING AT AN ANGLE
applying a certain makeup brand that would an airbrush, touch-ups are a breeze.
 What’s in Kris Evans’s makeup kit? “Of skin. Keep moving around the face in a 8. Set your makeup with a setting powder
course I use Air Craft!” (Figure 10.17). 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
Primer: Air Craft Primer (shea butter
keeps the makeup even. Application to finish the rest of your makeup
based); used with a brush or sponge, not
should take about 15 seconds. If any application. Sweep an eye color over the
the airbrushes
areas need more coverage you can lightly lid—and, if needed, a subtle eyeliner.
Foundation: Air Craft foundations (water airbrush a second coat of foundation to Top your makeup off with a flattering lip
based) those areas. gloss.
FIGURE 10-17: AIR CRAFT MAKEUP LINE 9. When all leftover makeup has been fully
Pressed Powders: Air Craft Perfect Layover
powder blown through the airbrush, detach the
gun from the hose, and place the cup
Lip Gloss: Air Craft Lip Gloss Duos PRO TIP
under running water to rinse thoroughly.
Eye Shadow: Air Craft Eye Glosses The first time you airbrush, put only water Connect your gun again to the
166 PRO TIP into the cup, and spray onto your hand or 167
compressor, and run through your
Excellent makeup brushes a tissue. This will give you a feel for the airbrush system to remove any makeup
Keep on hand a small squeeze bottle
Tweezerman tweezers of distilled water or spring water or sug- airbrush and how it works. still there.
gested product by the manufacturer for
Eyelash curler Maintenance: After every few applications,
thinning airbrush makeup.

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pull the needle out and wipe clean. Be
Eyedrops careful not to bend the top of the needle.
5. Have your actor close their eyes.
Cleanser Go to www.aircraftcosmetics.com for blow
Then gently airbrush around the eye
manual.
Moisturizer area.
2. Apply the moisturizer or primer of 6. Corrective spot covering is easy. For
choice to the skin first. Apply the primer under the eyes, you can use a shade AIRBRUSHING WITH STENCILS
with a sponge and not through the lighter than the foundation first. Then by Dina Ousley, Founder, Dinair
airbrush. A primer ensures a smooth airbrush the entire face with the color
PRO TIP Stencils are used in beauty airbrush makeup
surface with staying power for your you chose. For problem spots on the to achieve a cleaner, softer, less made-up
It’s very important to clean your airbrush airbrush. Squeeze six to seven drops of face, you can lightly spray a second layer look. With HDTV and digital HD cameras,
immediately after each use. You want to makeup into the airbrush cup. For a of the foundation color. every detail is visible. Feature or flaw, it
prevent the makeup from drying inside more translucent effect, add one to two
7. Adding color for blusher or highlighters shows. Airbrushing an entire makeup is
the airbrush. Not cleaned properly, your drops of water. Remember to replace the
is easy. Blow out any leftover makeup perfect for these technologies. Shields and
airbrush will not give the proper spray. cap on your airbrush to avoid spills.
color through the airbrush with a few stencils are used to protect areas of the face
3. Start the compressor. Position your hand drops of water. Add your next color or body where you don’t want colors to go,
on the airbrush lever as if you were choice to the cup. Blusher should be a while allowing you to define perfect natural
holding a pencil. soft blushcolor applied by hand or an eyebrow shapes, lip shapes, and to feather
4. Airbrush horizontally 3 to 4 inches from airbrush. Lightly spray a highlighter and blend existing colors. At Dinair, we use
How to start:
the face, pulling back the airbrush lever color along the cheekbone, brow bone, shields (stencils) for beauty makeup,
1. Set up your station with everything you with your fingertip. You’ll see a fine mist under the eye, or anywhere a highlight is fantasy, glamour, and tattoos. The following
need to airbrush. start to adhere onto the surface of the needed. sections explain how to work with and
 apply the use of shields in a natural beauty to fill in with some blush color or use the 3. Keep the eye area clean and free from
makeup. natural redness of the skin to become the moisturizers or oils. Moisturizers can
blush. We call this the window of PRO TIP cause eye shadow colors to crease.
FOUNDATION opportunity. Spraying sparsely is the key to When mixing custom colors in the air- 4. Set the airflow to 3 or 4 PSI.
success. Keep the distance of your airbrush brush cup, hold a tissue in front of the
Start with a clean face, and make sure that 5. Hold up a shield (stencil) that follows
about six inches away from the skin while nozzle to block the airflow. Then pull the
where you choose to spray the airbrush the contours of the eye, and gently pull
spraying foundation, using circular motions lever back until you see the colors start
makeup is free of any moisturizers or oils. back the airbrush lever.
with back-and-forth movements. This is key to bubble and give off a marbling effect.
Apply a primer before the foundation.
to an even application. 6. In a small, continuous motion, spray the
Choose a color that is in the shade range of Remove the tissue to restore airflow, and
shadow color by making several passes
the skin tone you are working on. The spray the airbrush makeup into the tissue
until you reach the level of color desired.
liquid must be shaken before use to correct to see your new custom color.
Note: If you hold the stencil flat against
pigment. If you want to create a custom
the skin, your edge will be more defined.
color match, you can always mix your PRO TIP
168 Holding the stencil slightly above the 169
foundation colors using the airbrush with a
If you need the person to have a warmer skin will give a softer feathered edge
technique called back bubbling.
complexion, lower the pressure of airflow, (Figure 10.18).
If you were to look at airbrush makeup and use a base that is a few shades dark-
under a magnifying glass, you would see er than skin tone. Spray over the skin to

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that the makeup consists of light, medium, create a bronzing effect.
dark, and blush-colored dots. Look at the
actor’s skin tone. If there is anything
dark around the face—such as
hyperpigmentation, birthmarks, or age When spraying around the eyes, note that
spots—lighten with one or two shades the natural folds and squint lines must be
lighter than the person’s natural color before gently opened and sprayed in the direction
applying the natural shade. You need only that they appear. If the lines and folds
five to eight drops of makeup to spray an change direction, so should your spraying.
entire face, neck, and ears. Spray the natural Remember to spray especially sparingly so
shade over the concealer. Spray sparingly so the airbrush makeup does not collect into
you don’t lose your highlights. the folds and squint lines. You can use the
remainder of the airbrush makeup in the
Work in passes. A pass is every time you go
cup to spray the top of the hands to knock
over the same area, the dots fill in, and the
down sun spots and add tone.
coverage becomes more opaque. Make sure
to use one pass at a time—one pass, two
pass, three pass, and so on, until you have EYE SHADOW
the right coverage. Dots are the ultimate in 1. Put two to three drops of liquid eye
camouflaging. shadow into the airbrush cup.
Leave enough open coverage. Open coverage 2. To create a custom color, mix them by
is the space around the dots of color (your creating back bubbles with your
FIGURE 10-18: A MAKE UP CHART
skin) that you have sprayed. This allows you airbrush.
 EYELINER brow where needed. You may also want
1. Change out any color you desire for to use the front of one brow stencil and
the tail of another, creating the perfect PRO TIP
eyeliner.
eyebrow look for you. To find the natural contours of the cheeks,
2. Set the airflow on a low PSI of about 3
have the actor smile while you airbrush the
to 4. Dinair has hair stencils to fill in
cheek color. Go to www.airbrushmakeup.
sparse areas. Each stencil has a selection of
3. In the same way as for the eye shadow, com for video instructions.
hair shapes that can be tailored for your
follow the natural lash line in a back-
needs. This is a particularly good way for
and-forth motion, building the color
women who have lost some of their
with each pass. Note: An eye shadow
eyebrows to again have naturally beautiful
stencil held directly on the lid close to
brows. FIGURE 10-19: THE SET UP
the eyelashes will give you defined
eyeliner. A stencil held just off the lid HOW TO CLEAN YOUR STENCILS
170 while airbrushing eyeliner color will LIP COLOR 171
by Bradley Look
appear feathered. 1. Change out your eyeliner color for a lip
Productivity and the life of your stencils can
color of choice.
be vastly improved with regular cleaning.
2. Take a lip edge and lay it flat against the Just as you should always leave your
lips. airbrush clean, so should you with the rest

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3. Work on small sections at a time. of your equipment. This is particularly
PRO TIP paramount when working as a Makeup
Note: Laying the stencil flat against the
The farther away from the eye area you lips will give you a defined lip line. Artist who’s using an airbrush on talent.
work, the wider your eyeliner will be. Work closer to the lips for a narrower After all, you wouldn’t use dirty sponges or
line. brushes, would you? A stencil comes in
contact with an actor’s skin and should
4. Work farther away from the lips to finish
be cleaned frequently. Simple steps are FIGURE 10-20: POURING
the rest of the lips.
all it takes to maintain clean stencils. First,
5. Apply lip gloss over the colored lips for you’ll need the basic equipment to get
EYEBROWS an extra-shiny finish. started.
1. You will want to put a total of two to
three drops of eyebrow coloring in the BLUSHER
MATERIALS
cup. 1. Apply blusher color by sweeping
A solvent-proof tray (such as an enamel
2. Hold the stencil up to your eyebrow, across the cheekbone area with the
butcher’s tray, found in most art stores)
and bring it flush against your skin for a airbrush. The cheeks should never look
sharp edge. made up. A subtle hint of color is all Paper toweling
3. Distance the stencil, allowing the you need.
Powder puffs
overspray to cover and define the brows, 2. Use a loose tissue to block off any
Isopropyl alcohol 99 percent
giving them a soft, naturally feathered unwanted color into the hairline, being
look. Note: You can use the stencil to careful not to hold too close to the Spray bottle
FIGURE 10-21: WASHING THE STENCIL IN A TRAY
spray the entire brow, or just fill in the skin—this will create a hard line. A synthetic brush (with soft bristles)
 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.

FIGURE 10-22: CLEANING THE STENCIL WITH PUFF

FIGURE 10-24: DRYING THE STENCIL

7. Once you’re satisfied with the cleaning, FIGURE 10-26: BRADLEY LOOK AND STEVEN ANDERSON
172 173
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.

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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
FIGURE 10-25: STORED STENCILS met at Gower Studios to test colors for a
An Itoya portfolio (available in art-supply and well-known soft-drink commercial. The
FIGURE 10-23: CLEANING WITH A BRUSH
office-supply stores) helps keep stencils concept of the ad was that two large sumo
flat and organized. wrestlers were to be running through a dark
3. Lay the stencil facedown (dirty side)
forest and converge on an unsuspecting
TO BEGIN THE WHOLE onto the toweling.
man who was sitting on a tree stump. The
CLEANSING PROCESS 4. Let it sit there for several minutes so that commercial spot would finish with a close-
1. Detach two sheets of paper toweling the solvent can loosen all products on its up of the two enormous bellies of the
surface. Note: If both sides of your PREPARING FOR AN AIRBRUSH
from the roll, and fold so that the wrestlers squishing an unsuspecting man
stencil have dried product on them, BODY MAKEUP
toweling will fit inside the butcher’s tray. between them.
then you’ll need to flip the stencil over by Bradley Look
2. Carefully pour the isopropyl alcohol on top Oh, and I left out the most important part.
to soak.
of the paper toweling so that it is entirely Each of the wrestlers would need to be
saturated with the solvent. Note: If you are 5. Now flip over the stencil onto the paper BEFORE THE SHOOTING DAY airbrushed from head to foot: one yellow,
unsure whether the solvent will affect the toweling (dirty side up). Anytime a complex makeup is to be and the other lime green. We met with the
material your stencil is made of, check a 6. Saturate a powder puff with solvent, and tackled—whether it might be for a feature, actors that were to play the wrestlers at the
small section before immersing it. lightly pat the stencil to remove product. television series, and/or commercial—it is studio.
 SET UP YOUR SUPPLIES FOR longer and cover faster, which are makeup was used around the actors’ eyes in
A MAKEUP TEST tattoo inks, as mentioned earlier. We matching colors. Iwata/Medea HP-CH Hi-
Using a vacant makeup room, airbrushes chose to work with Fred Blau, owner of line airbrushes were used on the bodies PRO TIP
and compressors were set up along with Reel Creations. To airbrush both becauses that gun can operate at a low 13
Before applying the yellow, it was strained
several versions of green and yellow performers, we were going to need a PSI, which greatly reduced overspray.
first using a fine-mesh strainer like those
temporary-tattoo ink. Reel Creation product quart of white, two quarts of yellow, and a Iwata’s Powder Jet Pro compressors were
found in the baking aisle at a grocery
line was used because it had a suitable gallon of green in temporary-tattoo ink. The used to power the guns.
store. This helped remove any large par-
pigment level for the job. Other supplies for yellow was easy to mix, because it was
ticles that could potentially clog the
the test included a hair dryer with a cool similar to canary yellow (a mix of yellow
SETTING UP YOUR STATION spray gun.
setting, makeup cape, and additional Reel and white). The green was a much
more elusive color to obtain. It took A tent was erected near the base camp.
Creation tattoo colors to adjust the bases.
many tries for Fred to match it. Note: Portable heaters were brought in. Although
PREP THE ACTORS Because of the time involved to the heaters were a good idea, they had
174 execute the body makeup, two extra to be placed a fair distance away 6. The yellow was applied carefully over 175
The actors’ skin was thoroughly cleaned
Makeup Artists were called in who had becauses we were spraying an alcohol-based the white. Note: Two people worked
with isopropyl alcohol 99 percent to remove
airbrush experience. product, and safety was of utmost different sections of the body to save
skin oils so that the makeup would adhere
importance. time.
evenly. Moisturizer was not applied—it
could possibly cause the tattoo inks to 7. Next, we applied a matching yellow in

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DAY OF THE SHOOT
streak and easily come off. APPLYING THE BODY MAKEUP cream form around the eyes.
Before leaving, the two actors at the studio
were given specific instructions to remove 1. To begin the process, everyone placed 8. The edges were blended off, then set
SUGGESTIONS FOR
all body hair the day before the actual day filter masks on. with powder.
MAKEUP TESTING
of shooting. Further, they were told not to 2. Our first performer sat in a swivel chair 9. We applied a base to the entire face in
After doing a number of makeup tests on
apply any body moisturizer and to use roll- as we lightly hazed the white underbase yellow with a Hi-Line airbrush.
the performers, it was determined that for
on antiperspirant deodorant, as opposed to on. Note: It was extremely important 10. The makeup was finished with our
the yellow to look concentrated enough on
the spray variety. Spray deodorants will that this first layer not be sprayed on hands: airbrushed white primer color,
the skin, an underbase of white would be
cover a wider area under the arms, and too heavily—running would be visible yellow makeup, and colorless powder
necessary. For the green, a mixture of white,
makeup will not adhere to skin coated in under the yellow and ruin the effect. to set.
green, and a Day-Glo green created the
the product. And lastly, both actors were It was a slow process to build up this
perfect match to the can of the soft drink 11. To seal the makeup, Reel
told not to drink anything alcoholic the primer coat.
that the producers wanted the colors to Creations Blue Aqua Sealer was
night before. The alcohol would seep out of 3. We covered the entire actor except for
correspond to. After a couple of hours, the airbrushed over the entire body.
their pores the following day, and eat away his hands, feet, and upper eyelids.
producers finally agreed to the shade of A light coating of Derma Shield
at the makeup when they started to This took about an hour and a
yellow and green they liked the best. Liquid (a skin protector) was covered over the
perspire. half with two people applying the
samples based on those two colors were entire body to add a more lifelike
mixed in 1-ounce bottles so that a larger white. sheen.
volume of liquid product could be MAKEUP AND AIRBRUSH 4. We then lightly dusted the white tattoo 12. After the hair was styled, the airbrush
produced. SUPPLIES product with colorless powder to was used to enhance the hair. This
Reel Creation Tattoo Inks were used for the remove any stickiness on the skin. technique gave the hair a more
The colors we found to work now had to be
matched to a body makeup that would last complete body makeup. Ben Nye cream 5. Then we dusted off the excess. structured look.
 Lastly, a similar process was repeated on the container. This helps clean the fluid health. One of the first defenses for Badger: www.badgerairbrush.com
other actor for the green body makeup. passage. protecting yourself in the trailer is having
Evans, Kris, and Albright, Darla.
your station near one or two open doors at
www.aircraftcosmetics.com
ON-SET TOUCH-UPS either end. Windows should be open, and
any built-in ventilation systems running. www.fda.gov
There are a few situations where you need
There should be a limit on how many
to be properly set up to do touch-ups while www.iwataairbrush.com
PRO TIP people in the trailer are airbrushing at a
shooting outdoors and for more elaborate
time. Airbrushing has little or no risk, but
makeups. Talk with someone ahead of time Bradley Look says: “Spray excess air- Klasfeld, David. Obsessive Compulsive
spray-on tanning is more of a concern.
to see if it is possible to have a small tent or brush cleaning product into a cleaning Cosmetics. www.occmakeup.com
Good websites to research the latest findings
cover that can be put up. Set up your pot, sometimes referred to as a cleaning
on cosmetic ingredients or workplace-safety Look, Bradley: Original articles written for
equipment, chairs, or small table that you’ll station. The cleaning station has a filter
issues are the FDA at www.fda.gov and Airbrushtalk web magazine
be using for touch-ups. system that helps to trap harmful sol-
OSHA at www.osha.gov.
vent so as not to be introduced into the Mandor, Samantha. www.temptu.com
176 177
REMOVING THE AIRBRUSH environment.”
REFERENCES www.osha.gov
MAKEUP
Internet Resources
To remove the makeup, a 50/50 mixture of Ousley, Dina. www.dinair.com
www.airpromakeup.com
isopropyl alcohol and isopropyl myristate
Paasche: www.paascheairbrush.com

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was used on powder puffs. This mixture www.arttalk.com
easily breaks down the tattoo inks.

CLEANING YOUR AIRBRUSH:

PAASCHE
Follow these steps to clean your airbrush:

1. Pour any leftover color back into its

container.
2. Rinse and wipe color cup or bottle
assembly clean. To backflush color from FIGURE 10-27: A CLEANING STATION

the airbrush, keep bottle assembly or

color cup attached.
3. If using a color cup, cover the top of it SAFETY
with your thumb or a cloth to keep air Certain safety issues do come up with
from blowing out. airbrushing. Having good ventilation is at
4. Place one finger over the air cap of the the top of the list. Although there is little or
airbrush, and release some air by no proven risk of airbrushing with makeup
depressing the finger button. This and low-PSI compressors, you as a
causes back pressure, which induces a professional are responsible to know all the
bubble action inside the airbrush and facts and safeguard yourself and the actor’s
11
Effects

© MARY BIRCHLER DESIGNS

 Prosthetics is the process of creating an MOLD MAKING FOR coming into contact with other products
effect in makeup by sculpting, molding, TODAY’S MARKET such as sulfur clays. Silicone also must be
application, and painting. Prosthetic by Smooth-On accurately mixed by using a scale.
makeup is widely used today for wounds, to Gelatin: Can be poured into a silicone
Many products on the market are used for
simulate illnesses, to change the shape of a mold. The appliance picks up more detail
mold making. Most use a variety of flexible
face, or to create a whole different face. from the mold if the silicone is slightly
rubber products. These products can mimic
Countless monsters and creatures are heated before pouring the hot gelatin.
fine details, are easy to remove from the
created using prosthetic makeup. Your
original piece being cast, and can be used
imagination is all you need, plus skills in
over and over again, which makes these
the art of mold making, applying, and
products cost effective. The following rubber SAFETY TIP
painting the final outcome. Finding the FIGURE 11-1: PRODUCT SUPPLIES
products are often\ used by Makeup Artists. by Smooth-On
right tools and products will help you to
create anything the Director has asked for. Latex: A natural rubber found in rubber Materials are safe to use when following
180 You might find yourself behind and in directions by the manufacturer. Federal 181
trees, mainly in Southeast Asia. Raw rubber
trouble on occasion if you can’t produce or is processed with ammonia and water to law requires that manufacturers provide
help a department head in making, laying, make the rubber usable as a molding important information in the form of a
or painting a prosthetic piece. Directors and material. Latex is often brushed or slushed material safety data sheet (MSDS). The

E FFE CTS
Makeup Artists are much savvier and expect into a mold, but not poured. The advantage MSDS provides all pertinent information
high-end, quality work. The process in of using latex is that you don’t have to on a product—ranging from directions
prosthetics starts with molds, making molds weigh the product. You can use latex right for proper use, to safety precautions, to
and casting chosen materials to go into the out of the container. It’s not too expensive, a list of active ingredients, to associated
mold to cure. There are many different ways and has a high elasticity. Latex molds are hazards, to combustion levels, to storage
to do this, and we’ll go over the steps later also good for casting wax and gypsum. The requirements.
on in this chapter. In today’s market, there disadvantage of latex is the drying time.
are many ways to shorten the path of mold FIGURE 11-2: A MODEL BEING POURED WITH A
Most latex products need to dry for four or
making because of the advances in products CONTAINER WALL
more hours between each layer when being PROBLEMS THAT MIGHT ARISE
being used. There will be many times when brushed on. Some projects can take up WHEN MOLD MAKING
you need to rush something out, a request to 20 brushed layers. Also, there can be If the mold has soft spots (partial cure):
has been made for a last-minute makeup a strong ammonia odor, but there are QUICK OVERVIEW
effect, or you need to reuse a prosthetic products out there today that have 1. It was not mixed correctly (premixed). 1. An original model can be made with
piece over and over again. Whatever the addressed this problem. 2. It was not mixed thoroughly. almost any material. This includes clay,
case, there are easy ways to do this right on
3. The product was contaminated. wax, wood, plaster, stone, metal, bone,
location. Silicone Rubbers (Smooth-Sil Series):
or cement.
Silicone rubbers are two-component 4. It was not correctly measured.
As a Makeup Artist, you should also learn systems, and are available in ranges of 2. If you are pouring, use a container wall
If your mold stuck to the model: around your model (Figure 11.2). If
where to turn for help in achieving realistic hardness from very soft to medium. Silicone
prosthetic applications. Not everyone needs can be cured with a platinum catalyst or a 1. The wrong release agent was used; not brushing, no wall is needed.
to pour a body cast or to sculpt masks. If tin catalyst. You can make molds that are enough was applied; or it was not used 3. Seal all areas of the mold and model if
you know the process and who to call, then poured, brushed, or sprayed onto a model. at all. using porous materials: plaster, wood,
applying the final piece is what counts. Silicone can have negative results when 2. The model was not properly sealed. sulfur, or water-based clays.
 4. Use a release agent for all sealed areas. If 1. Wrong mixing measurements 6. Apply third coat (Figure 11.8).
you are using silicone, a release agent is 2. Wrong type of scale (should be a gram 7. Remove mold (Figure 11.9).
not necessary. scale or triple beam balance) 8. Scrape clay (Figure 11.10).
5. Follow manufacturer directions suited 3. Temperature too cold 9. Measure out (Figure 11.11).
for your project.
Steps to Silicone Mold Making with 10. Mix flesh tone (Figure 11.12).
Have good ventilation. Do not inhale fumes, Smooth-On:
rubber products, release agents, sealers, 11. Mix (Figures 11.13 A and B).
fillers, resins, and plasters, and so on. Wear 1. Sculpt (Figure 11.3). 12. Mix quickly (Figure 11.14).
good rubber gloves, and minimize skin 2. Release (Figure 11.4). 13. Spread in mold (Figure 11.15).
contact while working. Wash your hands
3. Mix product (Figure 11.5). FIGURE 11-5: MIX PRODUCT 14. Release with powder (Figure 11.16).
with soap and water, or anywhere there has
been contact with products. 4. Apply thin layer (Figure 11.6). 15. Done (Figure 11.17).
182 5. Apply second coat (Figure 11.7). 183
Protect your surfaces from spills with wax
paper, brown paper, or your own favorite
setup towels. Keep your station clean by
keeping utensils clean, and surfaces washed

E FFE CTS
with acetone or alcohol to remove any
materials that have spilled. Gelatin can be
simply washed off.

What should you have in your kit for mold

making? Smooth-On suggests the following:

Wood or acrylic pieces for container walls

(this is for containing any product from
FIGURE 11-6: THIN LAYER
spilling over). Mold boxes can be FIGURE 11-8: THIRD COAT
FIGURE 11-3: SCULPT
homemade.
Scale
Modeling clay
Mixing containers
Stirring sticks
Sealing agent
Release agent
Mold rubber or molding material of
choice

If you find that your mold did not set

properly, it could be for one of the
FIGURE 11-4: RELEASE FIGURE 11-7: SECOND COAT FIGURE 11-9: REMOVE MOLD
following reasons:
 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 finish.

Cure Inhibition: Certain casting products

can be inhibited by contaminants used in or
around a work area, causing the molded
FIGURE 11-10: SCRAPE CLAY FIGURE 11-13: A,B MIX FIGURE 11-16: RELEASE WITH POWDER
product to remain tacky or not to cure.

Demolding: When your product has cured

184 185
enough to be taken out of the mold.

Green Marble SeLr: Makeup sealer, used in

aging techniques and for multiple layers.

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

Myristate: An additive for high-grade

cosmetics. Also used as an emulsifier or
moistening agent.

FIGURE 11-17: FINISHED DONE PIECE Mix Ratio: The proper mix of products.
FIGURE 11-11: MEASURE OUT FIGURE 11-14: MIX QUICKLY
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 flocking 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
FIGURE 11-12: MIX FLESH TONE FIGURE 11-15: SPREAD IN MOLD
that holds fine details, sculpture free and heat resistance in a versatile product for
 mold-making productions. Materials such as Throwaway brushes
plastics, concrete, wax, low-melt metal Liquid soap such as Ivory clear soap
alloys, or resins can be cast into silicone-
Pros-Aide Bondo
rubber molds.
W.M. Creations, Inc. Soft Sealer
Release Agent: An agent used to help
release the product that was cast from the Medical mixing cups
mold. Chavant NSP Clay

Rigid Gypsum Molds: Known as stone Sculpting tools

molds.
Steps to Silicone Mold Making:
Slush Casting: Products that are to be used FIGURE 11-18: STEP ONE FIGURE 11-20: STEP THREE
1. Set up your station, Make sure there are
in a mold, poured and worked around the no latex gloves or sponges near the work
inside of the mold until all areas are area. Wash your hands and lay down
186 187
covered. You can slush several layers on top setup towels (preferably paper towels).
of each other, Each layer must be cured
2. Sculpt the desired form out of Chavant
before applying a new layer.
NSP clay (nonsulfur clay). Spray the clay

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W.M. Creations, Inc. Soft Sealer: Product with one light coat of Krylon Crystal
used to seal wax, gelatin appliances, and as Clear, and dry thoroughly (about three
a sealer on the back of gelatin appliances to minutes). Mix the silicone material
prevent moisture from attacking gelatin. (Third Degree molding material or Skin
Tite by Smooth-On). These two products
SILICONE MOLD MAKING are platinum-silicone based, and are
affected by latex or sulfur products.
Matthew Mungle will explain how to make FIGURE 11-19: STEP TWO
Paint the silicone material onto the FIGURE 11-21: STEP FOUR
a simple silicone mold, casting, and
sculpture with a finger or throwaway
applying your finished piece. This is a
brush, making sure not to trap any
technique that can be done on location with 2. Applying a small amount of 99 percent
bubbles in the cast. Build the material
professional results. Matthew Mungle: alcohol under the appliance with a
up at least 1 inch to avoid warpage. Let
“Silicone is a flexible material, and easy to brush or cotton-tipped applicator, let
dry at least 30 minutes, then demold.
demold appliances. Once a silicone mold is the appliance blend (melt) into the skin
made, it should last indefinitely. Silicone (Figure 11.19).
What to Pour into the Mold
molds can be made quickly and on 3. Blend off any soft sealer edges with 99
Suggested materials that can be poured into
location.” percent alcohol (Figure 11.20).
the mold would be plastic, Pros-Aide
What should you have in your makeup kit Bondo, and silicone products. 4. Color with Stacolors, activated with 99
to be able to create silicone molds and their percent alcohol (Figure 11.21).
appliances? Mold-making kit: Applying the Finished Prosthetic:
5. Paint with cut example (Figure 11.22).
1. Set the appliance in place on the skin
Silicone mold-making materials area, holding tweezers if necessary 6. Finished painted cut (Figure 11.23).
FIGURE 11-22: STEP FIVE
Small spatulas (Figure 11.18). 7. Adding blood (Figure 11.24).
 PROSTHETIC TRANSFERS Body, hand, or face lotion
by Christien Tinsley Smashbox Anti-Shine
Some of the wonderful attributes these Tattoo palettes (flesh tones and primary
prosthetics offer are undetectable blended colors)
edges, translucency (so they look like flesh
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 first like to prep my station. is free of hair, oils, and dirt. Hair can be
FIGURE 11-23: STEP SIX
Materials that I like to have with me at tricky if applying a prosthetic transfer
FIGURE 11-25: STEP EIGHT
all times when doing a Transfer because it won’t allow full contact of the
188 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

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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
FIGURE 11-24: STEP SEVEN FIGURE 11-26: STEP NINE 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
8. Cut and blood (Figure 11.25). or opaque (dense so it cannot be seen clean.
9. Finished scar (Figure 11.26). through). Apply Stacolor with brushes, Powder puffs
2. Stipple a light coat of Pros-Aide over
sponges, or cotton-tipped applicators. Q-tips
10. Seal with a soft sealer if necessary. surface of prosthetic transfer all the way
Stacolors also come in liquid form, which
99 percent alcohol to the edges.
you can use in an airbrush without having
PAINTING PROSTHETICS to thin the product first. Brushes 3. Let Pros-Aide dry until clear.
When an appliance is translucent, there is a Sealer (BenNye Final Seal)
Steps 4–8 should be done only when ready
realistic quality that shouldn’t be painted Remove products with Isopropyl Myristate,
Hand towels for application to actor:
over. Stacolors, which are activated with 99 Super Solv, or baby oil. Clean skin first with
percent alcohol, give you the flexibility to Isopropyl Myristate 4. Place prosthetic facedown onto shiny
70 or 90 percent alcohol. Do not use near
paint in thin layers like a wash (translucent) the eyes. Super Solv side of transfer paper.
 5. Press firmly onto paper, paying close
attention to the edges. This is the most
important part of the preparation.
6. Trim as close to the edge of the
prosthetic as possible.
7. Peel off plastic top sheet slowly. If parts
of prosthetic pull away from paper, lay
the whole piece back on paper and
repeat step 4 until prosthetic comes off
clean.
8. Now you’re ready for application.
FIGURE 11-27: STEP 1: LAY DOWN WITH WATER FIGURE 11-29: STEP 3: BLEND VISIBLE EDGES FIGURE 11-31: STEP 5: SEAL
190 APPLICATION: 191

1. Place prosthetic transfer face down on

skin, and press firmly.
2. Wet back of prosthetic transfer

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generously with a Tinsley Transfer
moistener (filled with water).
3. Continue wetting the paper for
approximately 30 seconds, and slice or
peel the backing off. Smooth transfer
gently with water, and let dry well. Any
visible edges can be blended away using
99 percent alcohol.
4. Powder generously with no-color
FIGURE 11-28: STEP 2: PEEL
powder of your choice. Gently wipe any
FIGURE 11-30: STEP 4: POWDER FIGURE 11-32: STEP 6: PAINT
excess powder, and seal prosthetic
transfer with a spray of makeup sealer 5. Seal (Figure 11.31).
(we recommend Ben Nye Final Seal).
6. Paint (Figure 11.32).
etc. Always have backup transfers with using any kind of filler of your choice
PROSTHETIC TRANSFER you, and alcohol, in case you have to (bondo, wax, etc.). Remember, it is always
APPLICATION STEPS WITH ON-SET remove and apply a new one on-set. Do not best if you have time to remove and apply
CHRISTIEN TINSLEY: In order to maintain prosthetic transfers remove with oils in the middle of the day a new piece. Things happen—just be
1. Lay down with water (Figure 11.27). on-set, be aware. As with any makeup, because your next one won’t stick. For resourceful and prepared.
things can happen with prosthetics. An minor repair, have a premixed color or
2. Peel (Figure 11.28).
actor sleeps hard over lunch, or he rubs his colors to match the tones and to fill in areas To Remove
3. Blend visible edges (Figure 11.29). arms on a table while eating, or the scene that have rubbed away. If an edge has Saturate prosthetic transfer with adhesive
4. Powder (Figure 11.30). requires actors to wrestle or sweat or run, pulled up or rolled over, you can fill it in remover of your choice (Super Solv,
 Isopropyl Myristate, Detachol, etc.), and rub Bloom, or stiffness, (around 275–300) than sorbitol or glycerin may be formulated Gelatin, like a lot of makeup processes,
gently with remover and dampened powder the gelatin used for food consumption differently and your method of processing came from many artists and many years of
puff. (around 200–250). 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
When you purchase gelatin from
into your “formula,” but you’ll learn this as here is from the contributions of Dick Smith
APPLICATION OF GELATIN a supplier for appliance construction, you
you go. and Kevin Haney, who did a great deal of
PROSTHETICS shouldn’t have to concern yourself with the
experimentation early on, with many
by Kenny Myers Bloom. Though it is useful to know that A general place to begin would be to have
successes and failures that many people
gelatin’s “Bloom,” is the relative strength or on hand some gelatin, sorbitol (which
The information contained within the today take for granted. It’s not an exact
rigidity of that brand or grade of gelatin, as increases the tear resistance while being less
context of this article is presented in science, and as an artist you can be
well as its water-binding capacity. The affected by humidity; usually sold as a 70
good faith. The responsibility for the surprised by all kinds of problems, usually
higher the Bloom number, the denser it will percent solution), and glycerin (which
use of any material in special makeup effects at the wrong time. There is no shortcut to
be. Gelatin is hydroscopic, which is a fancy replaces much of the water that would be
rests solely with the user. The author experimentation and experience. Keep a
way of saying it likes and absorbs water, used in food formulas), along with a good
192 assumes no responsibility for the use, or record of each formula, and network as 193
swelling to many times its weight of dry scale to measure out your ingredients. These
misuse, of any material, technique, or much as possible.
gelatin as you mix in liquids, turning the three ingredients are used in most basic
informational content discussed within this
dry gelatin into a slurry. The higher the formulas, and can be obtained from internet Here is a starter formula: to 20 grams of
article.
Bloom, the higher the price as well. The special-effects supply houses or any of the gelatin, add 40 grams of sorbitol (70

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Bloom scale was created by Oscar T. Bloom. brick-and-mortar special-effects supply percent solution) and 40 grams of glycerin.
WHAT IS GELATIN? He must have played with an awful lot of houses across the nation. As a side note, Other ingredients to consider by testing
Gelatin is a colorless protein formed by gelatin in his time! sorbitol is sold in two forms: a powder and their effect on the finished appliance: water,
boiling the skin, bones, and connective a liquid. The liquid is the sorbitol already in zinc oxide, face powders, flocking,
tissue of animals. It is used in food, solution, and it’s the form I like better for pigments,
pharmaceutical, photographic, ballistics, and HOW TO MAKE GELATIN its ease of use. The liquid is usually sold as
CAUTION: Pigments should be FDA
cosmetic manufacturing. The end result is a Many companies sell pre-made gelatin a 70 percent solution.
approved for use in cosmetics. Pigments
protein derived by rendering the remnants blocks that come in a variety of colors
Reiterating and many words of caution: from an art-supply house may not be
of the animal down to a powder that is which you can use “as is.” As well, many
ingredients are not necessarily suitable for cosmetic use—so don’t use
composed of about 84 to 90 percent provide a clear block that you can add your
the same from vendor to vendor. The them! Safety is your responsibility.
protein, 8 to 15 percent water, and 1 to 2 own colorants to. This would be the best
supply of gelatin, the mix of sorbitol, the
percent mineral salts, free of additives and place for any Makeup Artist to start until
glycerin—can all vary. I can’t urge you Heating the Gelatin
preservatives. It also contains about 18 you understand the processes and the
enough to make a chart of your ingredients Melting the gelatin into a liquid is necessary
different amino acids joined together in a medium.
and procedures, and to write down to both homogenize the mixture and break
chain.
Gelatin formulas are as unique as the artists everything—including proportions of down the powdered gelatin so that it can be
In the film and television makeup that use the material; however, if you’re ingredients, time of day, time of year, poured and molded. Usually this is done
industries, gelatin appliances are an determined, understand that whatever weather conditions, type and wattage of in a microwave for both convenience and
alternative to foam latex in that gelatin is a formula you find that works for you may microwave. All these things can have an speed. CAUTION: hot melted gelatin is
moldable, flexible, and translucent material not work for your friend across town. Why? effect on the end result. The object of all dangerous, and can blister and severely
that simulates human flesh in a more Many reasons. For example, you may not this work is to create a batch size that burn your skin. So be extremely cautious,
natural way than latex. Gelatin for buy raw materials at the same place, so the works for the appliance you’re making— and protect yourself with both gloves and
prosthetic appliances has a much higher gelatin may be a little different, Or the let’s say, a prosthetic nose. goggles.
 Microwaves come in different wattages, so a side into it. You will probably have to vent 2. Clean the gelatin piece with acetone
setting of #4 for 15 seconds on one machine your mold to eliminate voids, air traps, or to using a brush or sponge.
is not the same as #4 on another machine. prevent hydraulic back pressure from 3. Let dry thoroughly.
Read the ratings, usually written on the squashing your mold’s halves together. Many
4. Lay flat on underside, then apply two to
back of the appliance somewhere, and write Makeup Artists use a sealing coat on their
three layers of Green Marble, drying
this information down. UltraCal molds, but some do not. Some use a
each layer.
thin film of Vaseline for a mold release. Others
A double boiler can also be used, but will
may use PAM cooking spray or Epoxy Parfilm.
take a bit more time. Remember to put your
Applying the Gelatin Piece:
gelatin into a metal bowl or container, and Assuming that you’ve flashed your mold as
1. Cleanse (using toner) the area of the FIGURE 11-34: STEP 2: LIFT APPLIANCE AND APPLY
place it into the water of the lower boiler. you would for a foam latex appliance, PROS-AIDE (ROBERT ILLUSTRATIONS)
face or body that the gelatin piece is
Do not use bare hands—it will burn you. powder the gelatin as you remove it from
being applied to.
Instead, use gloves for hot work, or a long the mold. Use no-color powder, talc, or
gripping tool (pliers) to place and remove cornstarch. Leave any flashing on the piece 2. Fit the gelatin appliance to its intended
194 position; in this case around the jawline 195
your container of melted gelatin. If you after removing it from the mold. This will
allow gelatin to boil with either method, the be a great help in maneuvering the gelatin (Figure 11.33).
gelatin will break down, making it useless. and handling the piece for application. 3. Lift areas of the appliance, and apply
So don’t burn it. Allow your gelatin Gelatin appliances should be kept on a form Pros-Aide with a sponge (Figure 11.34).

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appliance to cool in the mold. Most artists to keep them from losing their shape, so Allow to dry most of the way clear.
will put the mold in a refrigerator (not the have either a vacuform copy of the positive Press into place. It’s best to start from
freezer) to speed up the process. or just a plaster copy. Remember to clean the inside pressing outward. If you fold
the finished pieces thoroughly with alcohol an edge, use a little alcohol on a brush,
Molding Gelatin or acetone before application. and lift the edge to replace it correctly.
UltraCal 30 Molds are the best place to 4. Have chin slightly down, and attach
What your makeup kit should contain for
begin because they are economical, and one side at a time (Figure 11.35).
gelatin applications:
many people are still using them today. For FIGURE 11-35: STEP 3: CHIN SLIGHTLY DOWN AND
5. Take flash off with witch hazel (Figure
the advanced user, Epoxical gives a better Acetone ATTACHING SIDE (ROBERT ILLUSTRATIONS)
11.36).
release and won’t break down as easily. But Brushes
it is more expensive, and needs more time
Sponges
and skill to make. Silicone molds are also
used, so there are a variety of techniques Green Marble Sealer
to choose from. All have advantages and Pros-Aide
disadvantages, as with any material—you
Witch hazel
just have to find what fits your situation,
pocketbook, and skill level. No-color powder
Skin Illustrator
Keep in mind that your molds should be kept
warm. A cold mold will solidify your gelatin
before it can flow into all the areas you Prepping the Appliance:
FIGURE 11-33: STEP 1: GELATIN APPLIANCE UNDER FIGURE 11-36: STEP 4: TAKING FLASH OFF WITH WITCH
require. It’s also best to fill your molds with 1. Flip over the wound so the bottom side
JAW LINE (ROBERT ILLUSTRATIONS) HAZEL (ROBERT ILLUSTRATIONS)
the negative side down, placing your positive is up.
 6. Gently blend edges with witch hazel— PAINTING GELATIN end of the industry. I say this only the industry. Gil explains how to approach
it’s easy to overdo this step and dig a by Kenny Myers because, if you are planning a career in the working with foam latex, and how to make
hole in your appliance edge. makeup industry, have a “for sure” before a gypsum mold.
Now that your appliance is prepped and
7. Blend the edges with stipple sponge you have a “maybe.” I’ve seen many Makeup
applied, you’re ready to paint. If you’ve
and Pros-Aide (Figure 11.37). Artists ignore a tried-and-true method to
done your homework and have properly
keep themselves in the technological MAKING A GYPSUM MOLD AND
8. Apply Pros-Aide all over the whole made your appliance (including the intrinsic
limelight—only to fail miserably in the 11th FOAM LATEX
piece. coloring) and paid attention to translucency
hour, when it was too late to correct the by Gil Mosko
(the balance on intrinsic coloring to the
9. Let dry completely. situation, and get themselves a reputation
mass of gelatin), the piece should require To make a gypsum mold, the mold maker
10. Use no-color powder around edges. for irresponsibility. This warning cuts across
only a series of color stipples and wash needs to take a life cast of the actor and
all material usage or processes, no matter
passes using Skin Illustrator (my favorite). reproduce his or her face in gypsum (the
what they are. This is an issue of
Taking a standard wedge of white makeup positive mold). The most popular type of
responsibility for your contract with your
sponge and tearing holes in a random gypsum is Ultracal 30 from United States
196 employer. 197
pattern on the application side of the Gypsum, which is bought in 100-pound
sponge gives an excellent pattern on the bags, or in smaller amounts from makeup-
appliance. Overstippling with this sponge supply houses (such as Motion Picture
will result in a natural soft skin pattern. Be By permission: Kevin Haney, published in Effects Company, in Burbank, California).

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careful not to use too opaque a mix of Dick Smith’s Advanced Professional Make- The mold maker would now need to
color, but instead, soft washes of color on Up Course, Update #3, page 4. complete a sculpture on the positive. There
the sponge. are many types of clay to sculpt with.
Kevin also notes that sorbitol makes gela-
Plastilina is the generic name for oil-based
tin firmer and less elastic. At the time of
Another favorite technique of mine is a clay that never dries out. Common types are
The Believers, Kevin used a formula that
hand-painted scumble, instead of using Roma Plastilina, and Chavant Clay.
FIGURE 11-37: STEP 5: BLEND THE EDGES WITH PROS- included 7 grams of gelatin (275 to 300
orange or red stipple sponges. This
AIDE (ROBERT ILLUSTRATIONS) Bloom), 38 grams glycerin, 21/2 grams
technique uses a round natural-bristle Once the sculpture is completed, it is
water, flocking, face powder, and zinc important to use more plastilina around the
brush, usually around a #8, and the color is
oxide. outside of the sculpture to provide “relief”
placed on the appliance in what may seem
like a random pattern. However, if you from the negative. In other words, by using
Internet Resources:
closely study most skin, you’ll see variations this “flashing clay,” a thin strip of contact
www.gelatin-gmia.com/index.htm
of color density and color placement between positive and negative is created.
www.gelatin.co.za/ Having a thin strip of contact creates less
everywhere. This will help “sell” your paint
job! Most Makeup Artists are people surface area of contact, and therefore needs
watchers—not only for behaviors, but also less pressure to squeeze foam out of this
character traits and, most of all, variations contact area. The finished foam piece will
FOAM now have a very thin edge, which is most
in individual colorations. This is a great
pastime when sitting around a mall or at Gil Mosko created GM Foam in 1987 to desirable for the Makeup Artist who is
any event gathering. meet the needs of the Makeup Artist for applying the appliance to hide in the final
a more user-friendly foam latex. Mr. Mosko makeup application. The finished sculpture,
FIGURE 11-38: STEP 6: PICTURE OF FINISHED
This brings up an issue for those of you has numerous awards, and has developed complete with its flashing and setter points
APPLIANCE (ROBERT ILLUSTRATIONS)
wishing to move into the professional foam latex that has become the standard in of contact (to prevent rocking), is now
 sprayed with Krylon Crystal Clear Acrylic burlap, and the number of fibers adds to molds at 140º Fahrenheit, but many of our 4. Clay walls (Figure 11.42).
Spray. This creates a barrier that prevents the strength of the mold. Once the mold is friends use temperatures as high as 180ºF. 5. First splash coat (Figure 11.43).
the positive and negative from sticking to finished, it is always best if you have the The moisture will stay in the mold for much
6. Second splash coat (Figure 11.44).
each other during the molding process. time to allow the mold to sit overnight longer than you think. It often takes a
Many mold makers also use a very light before opening it. GM Foam likes to heat minimum of six hours to truly bake a mold. 7. Hemp coat (Figure 11.45).
spray of MR 1500 (spray Vaseline) or the mold to about 120 degrees Fahrenheit, 8. Finished coat (Figure 11.46).
After baking the empty mold, a third
Parfilm spray. so the plastilina inside will be softened. In
painting of Alco wax is done. When that is 9. Two pieces (Figure 11.47)
this way, the positive and negative can be
The simplest form of foam mold is the two- dry, the interior mold surface can be
separated with far less resistance from the
piece squash mold. It has a simple positive, brushed out with a chip brush, or polished FOAM MOLDS
rock-hard, cold plastilina.
free from undercuts. To match it, there is with a towel. This will make the surface
All of GM Foam’s latex kits come with
a one-piece negative, containing all the In extreme cases, preheating before opening shine. Use GM Foam Mold Release around
excellent instruction sheets. For this
information from the original sculpture, but a mold will actually save the interior of the all of the edges, where the mold pieces
in the reverse, or negative. These two mold negative, which would otherwise be chipped contact each other. Just paint a very thin
198 199
pieces fit together intimately. The mold- and broken by the hard, cold plastilina. layer of the white GM Release all around the
making steps are simply put: make a wet After opening the two mold halves (positive perimeter of the piece, and let dry to white
clay floor and walls around the sculpture, and negative), all of the plastilina must be film. Your mold is now ready to be used
which sits on the mold positive; splash a carefully removed. Use wooden tools to with foam.

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coat of wet gypsum; add a second splash scrape away the plastilina. Never use metal
coat, hemp or burlap coats, and a finishing tools, which will scratch the interior of a
STEPS TO MOLD MAKING:
coat; including three feet. mold. When the mold is fairly clean, it is
1. Little feet (Figure 11.39).
time to scrub the interior with 99 percent
Our lab has a steadfast rule: “Feet on every isopropyl alcohol with a chip brush. This 2. Little feet (Figure 11.40).
mold.” Having little feet on the negative will wash out any remaining plastilina 3. Sculpture (Figure 11.41).
means that the mold will sit in a stable residue and oil. Your mold is now ready to
manner on the table, without rolling or be prepped for foam use.
rocking. This will enable the user to adjust FIGURE 11-40: 2 ND LITTLE FEET
the mold strap without having the resistance New damp molds should be sealed before
of the mold sitting on the strap. This is attempting to run foam in them. Use a thin
especially helpful in light of having a full solution of Johnson’s Paste Wax, thinned
foam injector and many molds to fill. The with 99 percent isopropyl alcohol. The ratio
user can save precious seconds by not is about 4 to 5 parts alcohol to 1 part wax.
having to fiddle with mold straps that are Mix well, then strain out the lumps through
rubbing against the bottom of the negative cheesecloth or window screen. Paint this
mold. “Alco wax” into both sides of the mold, all
over the interior. Mop up any pools, and
The most popular form of gypsum for these place the mold in front of a fan to dry. After
molds is Ultracal 30, from United States the alcohol has evaporated, repeat this
Gypsum. Although many people use burlap sealing process. It is always wise to bake out
as a mold-strengthening fiber, we prefer wet molds at this point. A convection oven
using hemp fiber. The simple reason is that works much better than a plain oven that
FIGURE 11-39: 1 ST LITTLE FEET FIGURE 11-41: SCULPTURE
hemp has many more fibers per inch than does not have circulating air. We bake out
 illustration, let it suffice 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
five 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 “refine” the foam. All the while,
ammonia is escaping from the mixer bowl.
FIGURE 11-42: CLAY WALLS FIGURE 11-45: HEMP COAT 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
200 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

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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 fill 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 flaws 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.
FIGURE 11-43: SPLASH COAT FIGURE 11-46: FINISHED COAT
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
FIGURE 11-44: SECOND SPLASH COAT FIGURE 11-47: TWO PIECES
the mold. (gelling agent). Some of the ingredients are
 extremely safe, such as the foaming agent, of its physical characteristics, due to release. An effective wax sealer can be made Demolding
and others are toxic. Both the curing agent oxidation of the evaporating process. Our using Johnson’s Paste Wax (or any carnauba Specific instruction and product knowledge
and the gelling agent are poisonous. new creamed latex is as good as anything wax) that has been thinned with 99 percent can be acquired by contacting GM Foam,
Therefore, the entire system should be we have seen in the past 20 years. When we isopropyl alcohol. We use a ration of 4 parts Inc., directly: (818) 908-1087.
treated with respect, and basic safety see cell structure that is strong and resistant alcohol to 1 part wax.
precautions should be used. It is important to breakdown, and a smooth, shiny surface HOW TO PAINT FOAM APPLIANCES
Liquid latex and other ingredients are
to note the following: Up until last year, on gelled foam, we know that our rubber by Gil Mosko
weighed and placed in a mixer bowl. The
there was one major plantation in Indonesia is performing the way it did back in the
foam is now whipped at high speed, The gluing of a foam appliance is more or
that manufactured natural creamed latex. 1980s, when we started. Creamed latex is
until it rises like whipped cream. When the less a mechanical process. There are many
Their largest customer was an elastic-thread back, and we have it!
desired height is reached, the mixer speed is different adhesives, but an appliance is built
manufacturer. When the thread
SAFETY: turned down, and the foam is refined to to sit on the face or body in one specific
manufacturer went out of business, the
make the bubbles or cells smaller. This also way, and is never stretched. Let us assume
rubber plantation chose to discontinue the 1. Read the instructions before starting.
allows the ammonia content of the foam to that your appliance is glued to the face, and
202 production of natural creamed latex. Several Refer to the material safety data sheet 203
decrease. At just the right time, gelling agent it is time to paint. The goal of course, is to
companies have begun making a replacement (MSDS) for more information.
is added to the slow-turning mixer. After make the paint job not only look like the
product. This new product is concentrated 2. Have adequate ventilation to remove about two minutes of slow blending, the surrounding skin, but to also make an
centrifuged latex. Normally, centrifuged latex ammonia fumes. mixer is turned off, and the foam is poured opaque medium appear translucent. This is

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has a solids content of 60 percent, which is
3. Wear safety goggles and gloves when into the negative mold. The positive is achieved by building up layers of thin wash
too low for our type of foam making. But
working with foam. carefully placed on top of the negative. of color, so you can see through the layers
now the new product being produced makes
Now pressure is applied to squeeze the two and see depth.
this centrifuged latex about 67 to 68 percent, 4. Do not let foam components come into
mold pieces together. With small molds, We all learn by watching other artists. In
which is perfect for making foam. To my contact with skin. If this happens, wash
simply pressing with the hands will suffice. my case, the truth is that the very gifted
knowledge, all the major foam companies are with soap and water as soon as possible.
Larger molds require mold straps to create a artist Greg Cannom had me visit his lab,
using this evaporated centrifuged latex. Clean up spills.
good pressing action. Often the negative along with my model, and literally showed
5. Wash your hands after working with requires a wooden board to be placed on it
At GM Foam, we still believe in natural me how he painted a bald cap. This was
foam. Never eat, drink, or smoke and then be strapped. This increases the
creamed latex. Through difficult dealings, during the period in the ’80s when I was
without washing first. leverage of the strap, and gives a greater
we have contracted a plantation in another studying for my union exam. I applied a
6. Anyone working with foam latex should squeezing action. bald cap to my model, and Greg painted it.
part of the world to start manufacturing the
keep a set of material safety data sheets That simple act of generosity has, since that
original type of creamed latex for us. We
nearby in case of emergency. day, changed the way I look at painting.
believe the physical properties of this type
of latex to be superior to the evaporated GM FOAM WARNING: Never use a FILLING MOLDS Everyone has their own style. Todd
centrifuged latex. Remember that the household oven for curing foam. Fumes Curing McIntosh begins with a base coat of reddish
centrifuged rubber has been exposed to heat given off by curing foam are toxic for food Once the foam has gelled, in a few color, and paints everything over the red.
for hours. The latex in the huge drums use. Keep these and all chemicals out of minutes the mold can be placed into the This lets the painting have the feel that
turns to a thick glop. All of the ammonia reach of children and pets. oven for curing. During this process, there is blood under the skin, and you can
preservative has long gone, and we believe vulcanization occurs. The latex molecules barely see it, once again creating depth. I
PREPPING ULTRACAL 30 AND chemically cross-link, and give the foam like to use a base coat of paint that closely
that oxidation is occurring during this
OTHER STONE MOLDS piece a memory. Once demolded, the foam resembles the actor’s or actress’ skin. I use
process. Of course, ammonia is added back
into the latex before it is sold, but in the New, damp molds should be sealed with will spring back into shape after being full-strength Pax Paint (a term coined by
time the latex was a thick paste, it lost some wax before applying GM Foam Mold pressed. our dean of makeup, Dick Smith). I might
 add that GM Foam, Inc., has a complete colors as Olive 1, Shinto 2, and so on, BLOOD The blood products that the Makeup Artist
line of Pax Paints in two palettes: Dark flesh so when you are ready to harmonize all There will be many times in your career chooses should be color checked with the
tones, and Light flesh tones. Each palette of your Pax layers, you just smudge a when you will need to create blood effects. Prop Department and Special Effects so that
also has a red appropriate to the other little RCMA over the Pax Paints, in the What you use and when to use it will have the color of blood will be consistent. A
colors. Once the piece is painted, I gently same shade as your base coat. If you use a big impact on how successful the outcome sample of the blood product you have
feather a very thin layer of the base coat a thin enough layer, it will not hide all will be. When a scene requires the use of chosen should be given to the Costume
onto the skin, using a white makeup of your hard work, and also it will artificial blood, there are many departments Department, to ensure that it is washable
sponge. From this point on, I use what actually bite into the Pax Paint, making that are involved in creating a realistic and to check for stain factor. The Prop
artists call “scumble sponges.” Take a white the use of powder unnecessary. effect. In some cases, you will need to Department and the Art Department will
makeup sponge, hold it in both hands, and 8. If there is more shine than you desire, camera test the color of your artificial blood. also need to know the products, particularly
pull until it breaks into two pieces. This you can use Origins, Zero Oil. Use this Some blood products will register too dark how to clean the blood products off props
edge is then picked at with your fingernails, product in a sweeping motion. Do not or too bright under certain lighting and and how to remove the blood from the set.
until little holes have been picked away. use a stipple technique, or it will dry in film-processing conditions. These situations If the props or the sets are expensive and
204 The sponge is now a stamp of sorts, and can cannot be damaged or stained, this will be 205
little white spots. are classic examples of working with other
be used to create a mottled surface. departments on a film or television set. You discussed in the production meeting, and
9. Finally, if you have the time, you can
will need to coordinate with the Costume will affect your product choice. In some
paint freckles and blemishes, either with
PAINTING STEPS: situations, the Makeup Department will
greasepaints, or aqua colors. Department, the Prop Department, the

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1. After the full-strength base coat, I never Special Effects Department, and, in some provide the blood products for other
I can tell you in all candor that there is a departments (such as the Costume
again use full-strength Pax Paints. I thin situations, the Stunt Coordinator.
point, if you are lucky, when the paint job Department), or will give the other
them with water until they are mere Discussions about the blood effects start
ceases to be layers of paint, and suddenly departments involved the name of the
washes of color. during the prep with the Director. Then, at
becomes skin. For a Makeup Artist, I can blood product and where to purchase it. If
2. After the base color, I paint a thin coat of the production meeting, the First Assistant
think of no greater thrill than to have an the Makeup Department does purchase
red by dabbing the scumble sponge, Director will address any issues, with all
appliance painted so accurately and products for other departments, just
constantly turning it as I dab, so the pattern departments present and having input.
artistically that one cannot distinguish it note on the invoice or receipt showing
of the sponge cannot be seen repeating from the surrounding skin. And believe me, After the production meeting, there are which department it is going to, so
itself. I dry each coat after it is applied. the Director and the Cinematographer will sidebar meetings with the various that the Accounting Department is able to
3. After the red, use a shade one or two notice. departments, at an agreed-upon time, to allocate the cost to that department.
shades lighter than the base. further discuss the issues. Doing so will keep the makeup budget
4. Next, use a color that is two shades intact.
darker than the base. PRO TIP

5. Then I use greens and blues. As with anything else, this technique PRO TIP If you do not coordinate with others, there
requires practice. What I wish for the will be no continuity in the color or texture
6. Finally, a last coat of the original base as Sidebar meetings provide excellent oppor-
readers is that you have a good time of the blood, as well as leading to confusion
a wash over everything. tunities for fine-tuning conversations and
learning these techniques, and someday among departments on the set. These are
designs with other departments involved,
7. Once all the Pax colors are dry, I like to do a makeup that is so flawless that you moments in production and on-set when
and not subjecting departments that are
use a thin layer of RCMA Appliance earn the respect of your peers. everyone works together to help each other
not involved to a long discussion.
Foundation that matches my base color. —Gil Mosko out to achieve the desired effect. Before we
Incidentally, my Pax colors are keyed talk about choosing the right blood
into the RCMA color scheme, with such products to use, it is a good idea to
 understand how blood functions in the • Where is the blood coming from, and of what the scene or action should look like. Broken or Fractured Nose: When the
human body. why? The Director might also want you to show nose has been broken, there will be
• What is the medical implication? research on the type of wounds that are swelling and bruising. There is also a good
What Is Blood? required to match the action. In most cases, chance of the nose becoming deformed. You
• What does the trauma look like in real
The human body has about five liters of the Producers will want to be involved in can also experience eye hemorrhaging and
life?
blood. Blood transports oxygen from the discussions. Producers will also have a say bruising around both eyes, as well as
lungs to body tissue, and then transports • What happens to the texture of the skin? in how much blood is used. This is for nosebleeds.
carbon dioxide from body tissue to the reasons related to film and television rating
After reading the script, research and think Broken Jaw: This is a serious wound for
lungs. Blood contains cells and is about issues, as well as creative choice. There will
about how to achieve wounds to match the several reasons. The swelling of the
55 percent plasma. Plasma is a liquid and be jobs where you will have a meeting with
action. This is one example of using your tongue can affect the breathing. With facial
contains 90 percent water. Plasma is a the Director before reading the script. This
knowledge of the body, and medical swelling and bruising, there is a strong
vehicle for blood cells and platelets. Plasma could be during the job interview. They will
resource books. If the wounds are extensive, possibility of lacerations in the mouth.
also functions as a carrier of minerals, be looking for how you would achieve
consult with a medical doctor. An Blood from these lacerations can cause
206 potassium, and antibodies. Red blood cells certain effects. Ask questions about the 207
emergency-room doctor is always very dangerous choking.
also keep blood clean and deliver oxygen action and story line, and what they want—
helpful in researching wounds and trauma
throughout the body. Hemoglobin is a or do not want—it to look like. In some Compound Fractures: There is a big
to the body. Be organized in your questions
protein that is red in color. Blood is cases, the Director will not know what he or concern with compound fractures that a
when consulting with a doctor. Their time
blood or nerve vessel could be injured.

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constantly recirculated throughout the body. she wants, but they will know exactly what
is limited, but they are normally happy to
White blood cells are there to fight off they do not want. Fractures of this nature leave the bone
help. Most of the time, you will have to
infections or germs. Blood platelets are also exposed due to skin lacerations.
schedule an appointment, either over the
found in blood. Platelets help to block MEDICAL DESCRIPTIONS Hemorrhaging in the Eye: Same as the
phone or at the office. If you need medical
blood flow around wounds. Clots can form Busted Eye: Bruising, swelling, an open cut bruise, but located in the eye. Blood vessels
slides, you will have to go to the office.
in blood. For example scabs are clots found often seen if the person has been in a fight. that have broken in the eye area become
on the outside of the body, whereas bruises Medical slides and photos are protected for A freshly bruised eye has just happened and trapped under the corona and give the eye a
are clots formed inside the body. Clots that privacy reasons, therefore you will need to is black and blue in color. A days-old eye bright red stain effect. As the bruise starts to
are dangerous form inside blood vessels. obtain special permission to access them, as injury will be green and yellow in color. heal, the area will develop a yellow greenish
well as a designated area within the doctor’s This wound effect could be used for many tone.
How to Choose office where you can view them in privacy. different situations.
Burns:
You will need to know the answers to a few Not only are doctors great resources for
wounds, but also for all illnesses, diseases, Abrasion Wound: Abrasions are surface
questions before making any choices on First Degree: Burns that affect the outer
and death, including how long it takes to skin lesions, such as scratches or small cuts,
what products to use and how the blood layer of the skin. First-degree burns are
die from certain diseases or wounds. where the skin has been scraped. There is
should look. Start with how the script reads. red with swelling and pain.
usually no need for stitches to close the
The scene description will get you started Second Degree: Burns that affect both the
If you can answer these questions before wound.
with a description of what the action is. Car outer and under layer of skin. These
meeting with the Director, you will be able
accident, fight, murder, crime scene, Animal Bites: Animal or people bites are burns cause pain, redness, and
to bring ideas to the discussion of how to
gunshot, bloody nose, illness or death, and laceration wounds where the skin is torn. blistering.
achieve the desired effect. After reading the
cause of death.
script and doing preliminary research, meet Stab Wounds: Stab wounds or penetrating Third Degree: Burns that affect deeper
• Is there a written description of what it with the Director to discuss what he or she stab wounds are deep, and often fatal tissues, resulting in white, blackened,
looks like? wants. Your Director will have a visual idea because of the harm done to vital organs. or charred skin that causes numbness.
 Airway Burns: These burns can occur have a combination of all three types of when a nonflowing blood is needed. This tend to have an unrealistic skin that forms
when inhaling smoke, steam, or toxic blood in one makeup. For example, the type of blood can be applied with a dental on the surface. Applying a little bit of
fumes. Symptoms to watch out for are center of the wound may have bright, spatula, and works very well when used at glycerin over the top of the blood keeps it
burned lips, burns on head, face, or oxygen-enriched blood. As you move the base of cuts. You can create very looking fresh and wet. To help avoid this
neck. Eyebrows and hair can be singed. away from the center of the wound, the realistic scratches with this type of paste- problem, you can use a blood that already
Dark mucus can occur. blood would become oxygen depleted and consistency blood when applied with a contains a glycerin base (such as K.D. 151
Thermal Burns: These burns can occur darker. As you move to the outside edges coarse stipple sponge. Stay Wet Blood).
when scalding liquids, radiation, or or on smudges, the blood would be dry or
Less Heavy: A slightly lighter-viscosity
flames or hot items come into contact starting to dry. Weather elements and on-
blood (such as K.D. 151 Blood Jelly) should Mouth Blood
with skin. Symptoms are blisters, set conditions can also affect the wound.
be used when a slow-moving blood is Blood that runs into the mouth should be
peeling skin, red skin, shock, swelling, Is the actor sweating? Is it so cold that
desired to help maintain the continuity of a specially formulated (such as K.D. 151
white or charred skin. the blood is freezing? Is it raining out so
bleeding wound from take to take. Mouth Blood).
the blood could wash away? To get really
208 Gunshot Wounds: Your wound size will good at dressing blood to wounds, you Medium: Medium-viscosity bloods are the 209
depend on the caliber of the gun and the need to start thinking organically. Do your consistency of syrup. These are probably the
shooting distance. The entrance wound is research and study medical books. Watch most commonly used type of blood. Some PRO TIP
cleaner than the exit wound. The entrance and record true-life medical-emergency of these bloods have been formulated for Always keep a small can of shaving cream
wound is smaller in diameter, with burned

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shows, boxing, and full-contact matches. specific uses. in your kit on-set. Shaving cream removes
edges of skin at the bullet entrance. The exit Take photos of real-life injuries.” stains on the skin ranging from blood to
wound is larger and messier, with the Light: Light-viscosity bloods (such as
permanent markers. It is fast and easy.
greatest amount of blood and body matter The following are blood conditions and K.D. 151 Pumping Blood) can be used
dispersed outward. what to use. when matching the viscosity of real blood.
Also are good to use when pumping blood
WHAT TO USE Lighting Conditions through small-diameter tubing. There are products out there now that make
When filming in low light, dark-colored all the difference in continuity and how a
Ken Diaz knows the importance of realistic To create a thinner, realistic dry or drying
bloods will not show up. You need to use a blood effect can be used, without the mess
blood. Finding nothing on the market that blood, you need to use a medium-viscosity
brighter-colored blood for it to be visible. involved with cleanup. Skin Illustrator,
worked under the many different shooting drying blood (such as K.D. 151 Drying
Also use bright-colored blood when developed by award-winning Makeup Artist
conditions, he created his own. Ken: Blood Syrup). When a thick, realistically dry
applying the blood to any dark surface. The Kenny Myers, is a water- and abrasion-
or drying blood is required, you need to use
opposite is true when working with light- resistant, alcohol-activated makeup that is
“There always are several factors to a heavy-viscosity drying blood (such as
colored surfaces. Dark-colored blood looks available in palettes and liquids. Makeup
take into consideration when creating a K.D. 151 Drying Blood Jelly).
much more realistic on white porcelain than products such as Skin Illustrator are a
makeup. First, you need to determine
does bright-colored blood. When applying blood over prosthetic must-have in your makeup kit. Throughout
what type of wound you are creating.
appliances, you will need a blood that the book, we mention different Skin
Does the wound have arterial or vascular
Blood Viscosity contains a wetting agent (such as K.D. 151 Illustrator palettes, and for now, we’ll talk
bleeding? With arterial bleeding, the
There are now many blood products Flowing Blood). Blood that contains a about the Skin Illustrator FX Palette and a
blood is oxygen enriched and bright in
available that come in a variety of viscosities wetting agent will help keep the blood from few ways it is used in blood effects (Figure
color. With vascular bleeding, the blood
or thicknesses. beading up over slick surfaces. 11.48).
is oxygen depleted and dark in color.
How old is the wound? Is the blood dry Heavy: A very heavy or paste consistency Working outside with conditions that could The FX Palette was designed for just about
or starting to dry? Many times you will blood (such as K.D. 151 Blood Jam) is used be hot, cold, or windy, theatrical bloods any injury or illness imaginable. The Skin
 By taking the aged blood and adding it to Shooting the stuntwoman to match became from the Director can be helpful in scaling
any of the other colors in the palette, you an issue when wet blood was to be applied. down the possibilities. Let’s not forget that
will get a whole new range of color. 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.
For Continuity: If you have an actor with
and the amount of wardrobe that would be Sometimes there are meanings with deep
dripping blood, and you’ll need to do the
used. The solution was to use blood trails ties to them, and the last thing you want to
shot over and over again, you’ll want to
made of Skin Illustrator colors, which, on do is have your actor with something that is
keep track of exactly where you applied the
camera, looked just like real blood. Add a offensive or says something about himself
blood the first time or at the beginning of
FIGURE 11-48: SKIN ILLUSTRATOR FX PALETTE little shine on top of the Illustrator color that isn’t in the character’s description.
the take. Between each shot, there will be a
with KY Jelly. This is a product that will Tattoo books, magazines, tattoo parlors,
few moments to clean up the actor so you
maintain its shine without lifting. photography books, and the internet are all
can start fresh again.
good sources to find thousands of ideas.
Everyone was happy with the results of not
having to use wet blood on the stunt driver. Today, in feature films and TV, the
210 211
Saves you from having to run in over and techniques of HD, bluescreen, and
PRO TIP
over again to clean and reapply blood. With greenscreen are being more commonly used.
Know what part of the scene each take this in mind, you can see why distance The trick to a good makeup, tattoo, or
starts from in order to match the blood, shots, working in the rain or elements prosthetic is to make it look real. If you can

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and any changes of the blood, during film- outside, painting your wound for a more fool the eye standing two feet away, you will
ing. Sometimes there is a progression to three-dimensional look, and keeping most likely fool the camera. Don’t rely on
FIGURE 11-49: SKIN ILLUSTRATOR FLESH TONE PALETTE
the blood. You will need to take a continu- continuity are all good reasons to use Skin video monitors—they can be misleading
ity photo at the beginning of the take and Illustrator FX Palettes in your work. and not a true image for corrections.
at the end of the take.
Illustrator FX Palette can simulate first-, Make sure you have a good relationship
second-, and third-degree burns; cuts; with the Director of Photography. In HD
scrapes; scabs; and bruises. The FX Palette PRO TIP cases, there are digital DPs (not Video
seamlessly integrates with the flesh-tone If you have laid down blood with Skin Other products you can use to get the Assistants) monitoring the recording. Go to
palette to create varying degrees of injuries Illustrator FX color before the wet blood, same effect as FX Skin Illustrator: Stacolor dailies. Ask to see them even if they give
and illnesses (Figure 11.49). you have safeguarded exactly where the wet and Reel Color. you a DVD copy. Know what you are
blood needs to go. If, during shooting, the looking at. Find out from the Director or
Blood tone is a realistic natural blood color
blood lifts, Skin Illustrator colors will keep DP how they are processing the film in post,
that can be easily altered to a deeper, more
the wound looking bloody, even without so you can be aware if you need to punch
theatrical color blood with the addition of
the wet blood or little of it. Skin Illustrator TEMPORARY TATTOOS up certain colors. There are no disclaimers
ultra blue.
is also a good way to paint blood on a by Christien Tinsley, creator of in film and television for a Makeup Artist.
Skin Illustrators are made to mix. If you wound when you don’t want to get blood Tinsley Transfers, Inc.
mix yellow and blue, you will produce a on the wardrobe. For example: a female PREPPING THE SKIN
When approaching a tattoo job, research is
different green than what is already in the stunt driver had to match the principal Depending on what approach you will take
always important. You have to consider the
palette. Remember color mixing? Refer to actress. The stuntwoman’s arm would be for tattoo applications, you will commonly
character and the character history and time
the color wheel if you need to refresh your in the shot for a long stretch of time. The prep the skin by making sure it is free of
line to where and when they got the tattoo.
memory. Use the burnt orange to provide a principal actress did have wet blood applied hair, oils, and dirt. Hair can be tricky if
rust tone. The aged blood is a mid-ground to the wound, and the Costume Designer Also, with so many themes and mixture of applying a tattoo decal because the hair
aged blood that is not too blue or purple. did cut the wardrobe to expose the wound. themes, having a good direction or vision won’t allow full contact of image to the
 skin. If you are drawing the tattoo on, hair and then remove the protective plastic entire image. Make sure the water is
can just be in the way. Try to remove hair if coating. This coating protects the adhesive completely dried, and then powder
at all possible. After hair is no longer an that has been preapplied to the tattoo generously.
issue, prep the skin by cleaning it with an images. Next, place the tattoo facedown
I always let the powder stay until last looks.
astringent of your choice. This removes dirt onto the skin and press firmly over the
After you are finished with the makeup, you
and oil, and slightly dries the skin for better entire surface. Apply water to the back of
can be sitting for hours before your first
adhesion of paint or adhesive. Sometimes a
shot, and I prefer to let the powder protect
layer of adhesive can be applied to the skin
the image. What I have found is that after a
before the tattoo, helping the adhesion of
while, the powder falls away and absorbs
any image or ink being applied.
with natural oils in the skin. You may find,
by the time you get to shooting, that you
APPLYING THE TATTOO: require very little sealer. Never put oils such
1. Lay the tattoo decal on the skin and as glycerin on top of a wet or sweaty look.
212 213
FIGURE 11-53: POWDER
apply water (Figure 11.50). Always use a silicone- or water-based
product.
2. Slowly remove the paper (Figure 11.51).
3. Let dry (Figure 11.52).
APPLYING SEALER

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4. Powder (Figure 11.53).
When applying sealer, spray into a
5. Seal the finished piece (Figure 11.54).
sponge and first wipe against your own
If you are applying tattoo decals, then you hand. Then take the dampened sponge and
first want to cut close to your tattoo image, lightly rub over the surface of the tattoo
FIGURE 11-51: SLOWLY REMOVING THE PAPER
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 fingers or a sponge, and gently— applied and before powdering or sealing.
FIGURE 11-50: LAY ON SKIN AND APPLY WATER FIGURE 11-52: LET DRY
without stroking the surface—press over the Ideally, you have done your research and
 were lucky enough to get approval from all TERMS Spirit gum does take longer to dry than Removers
parties (Director, Producer, and actor) in Adhesives other adhesives. Spirit gum is good to use Most often, to be safe, you should buy the
time, and the transfer you have made Cabosil Mixed with Pros-Aide: These two for short time frames or in fashion, applying remover that goes with the adhesive you are
should include all the aging and color you mixed together form a thick paste that is objects to the skin (beads or crystals, for using. Many products are made to be used
require. often used to blend appliance edges into the example). You can find spirit gum in together in this way. Removers can be
skin and to repair damaged appliances. different formulas—regular, matte, extra solvent based, alcohol based, hydrocarbon
MAINTAINING TATTOOS ON-SET There are other usages, too numerous to matte, or extra hold. Spirit gum in matte based, soap based, oil based, non-oily,
mention. formulas is often used for lace pieces made with flammable solvents or
In order to maintain tattoos on-set, be
because the adhesive dries with no shine. nonflammable solvents, and can be thinned
aware. Like any makeup you do—but
Duo Adhesives: A latex-based product with water.
even more like a prosthetic makeup—things Silicone Adhesive: In its raw form, silicone
often used for eyelash application. Also
can happen. An actor sleeps hard over adhesive is composed of minerals. Silicone There are removers that have emollients to
used for fixing small areas on appliances,
lunch, an actor rubs his arms on a table adhesive is also found under medical protect the skin for drying. They can be
building small wounds directly onto the
while eating, the scene requires actors to adhesives. It has a strong hold and is fast odor free, hypoallergenic, in cream or gel
214 skin, blending edges, and applying jewelry 215
wrestle or sweat or run, etc. Always have drying. Silicone adhesives in general work form for easier use.
or decorations to the face and body. This is
backup tattoos with you, and alcohol in well on sensitive skin and are resistant to
one of those items you have in your kit that
case you have to remove and apply a new water. They are used often by Makeup Artists. REFERENCES
becomes an all-purpose product.
one on-set. Do not remove with oils in the

E FFE CTS
Tapes: Can be thin, wide, double sided, Diaz, Ken www.kd151.com.
middle of the day because your next one Liquid Latex: Also in clear. Used for many
textured, and transparent. There are many Haney, Kevin, published in Dick Smith’s
won’t stick. If it is a minor repair, have a different reasons. Liquid Latex can be used
usages for tapes found in different materials. Advanced Professional Make-Up Course,
premixed color or colors to match the image to build appliances directly onto the skin,
There are medical-grade adhesive tapes; Update #3, page 4.
and to fill in the areas that have rubbed blend the edges of appliances, pour or paint
tapes to apply hairpieces; to secure bald
away. Sometimes just throw your hands up or slush into molds. Is also used as a skin Mosko, Gil. www.gmfoam.com.
caps; and to hide or protect small cuts,
in the air, assess the shot, and say: “Hope for some foams.
wounds, and body art on the face and Mungle, Matthew, WM Creations, Inc..
we don’t see that!” Things happen—just be
Prosthetic Adhesives: Pros-Aide, for body—just to name a few. www.matthewwmungle.com.
resourceful and prepared.
example, is a Prosthetic Adhesive that has Water-Soluble Adhesive: Adhesive that is Myers, Kenny. www.ppi.cc.
many other uses. You can find Pros-Aide or easily removed with soap and water. Tinsley, Christien, Tinsley Transfers.
REMOVING TATTOOS
No Tack Pros-Aide formulas. No Tack Pros- www.tinsleytransfers.com.
To remove tattoos, I mix Isopropl Aide dries without a tacky surface, so the
Myristate and Super Solv 50/50, warm it Thinners Internet Resources
product can be used to blend edges and
up in the microwave so it is comfortable on Thinners are made to dilute or thin adhesive www.burmanfoam.com.
prepare appliances for painting. It is also
the skin, and use a powder puff. Continue products. Most adhesives have a matching
used as a Pax, and seals work already done. www.dow.com.
to apply remover with the powder puff, thinner to go with their product. For
Pros-Aide Adhesive has a milky white www.fxwarehouse.com.
gently rubbing the area, and periodically example, Telesis 5 Thinner works with
texture, a strong hold, dries clear, is
use a dampened hot hand towel to break thinning Telesis Silicon Adhesives. www.gelatin.co.za.
waterproof, and can be thinned with water
up the rubbing cycle. Continue this or thickened, but needs a correct remover. www.getspfx.com.
until the area is clean. Finish off with a hot Skin Primers
www.naimies.com.
towel, and then apply lotion to the area to Resin-Based Adhesives: Spirit gum is one Primers protect the skin from adhesives or
help moisturize before the next day of of the least expensive resin-based adhesives. products. They set and preserve the www.sculpt.com.
shooting. It is easy to remove and has a medium hold. makeup. www.smooth-on.com.
 a Pro

12
How to Be

© MARY BIRCHLER DESIGNS

 DIRECTOR:
PRODUCERS: DATE:
EXEC. PRODUCER:
DAY CHECKING: FILM AND DAY CHECKING DOS: DAY: OF
PROD OFFICE: 110 LEROY STREET, 5TH "THE DUMMY"
FLR CREW CALL:
TELEVISION INDUSTRY DAILY HIRE FOR FILM NEW YORK, NEW YORK 10014
P.O. PH# 212 555 1212 FAX # 212 555 1212 SHOOT CALL:
When called in to work, ask the Production Weather: CALL SHEET SUNRISE: SUNSET:
Sometimes Makeup Artists work on a day-to- Department to fax or email you a call sheet NO FORCED CALLS OR EARLY CALLS, WITHOUT PRIOR APPROVAL OF U.P.M.
SET SCENES CAST D/N PG S LOCATION
day basis; this is known as day checking. for the day you are working (Figures 12.1
Working as a daily hire takes a certain and 12.2). If you have been contacted by a
amount of responsibility and know-how. If department head or another Makeup Artist,
you are someone who is talented plus have be sure to get the information you need,
the ability to think on your feet and are a such as a production number. Sometimes
good observer, you’ll go far. Department the Makeup team already working has a
heads look for someone they can trust on- full plate. You can help by contacting
set, to do the job asked and not use the time Production yourself to let them know who
at work to advance your own career. There you are. Inform Production that you are on-
218 is a real need for good daily hires, or Day 219
board and in what department. Production TOTAL
Checkers. Once you have worked with can then add you to the list of Crew CAST PART OF MAKE-UP SET CALL TRANSPORTATION
#1
someone a number of times, you’ll get an members to be contacted for call times. #2

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#3
idea of how the department heads run their

A
Wait about an hour after Production wraps #4
Makeup Department. No matter how the night before you are to work. If you

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chummy and laid back it might seem, try to have not heard from someone by then, call

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remember that you are at work and this is a to remind Production that you need a call
real job. Don’t allow yourself to be careless time. Note that it is the AD’s department

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with what you say and too chatty with the with the help of the production department
Makeup Artists in the main trailer. One of to give call times, but in some cases a ATMOSPHERE SPECIAL INSTRUCTIONS
the biggest mistakes a Makeup Artist can do SI # RPT TO LOC @ PROPS:
member of the makeup department will SI #
in any situation is not follow directions! make the calls.
BACKGROUND TO INCLUDE:
Please leave your ego out of the equation SET DRES:

when given directions on how and what Many times department heads will ADD. LBR:
products to use for the job you are on. There contact you to ask if you have your call SP EQUIP:
have already been many decisions made by times. It is a plus to say yes because that
the department heads in charge about the makes one less thing for the Makeup Artist
look of the shoot. Do as you’re told! On top to worry about. They know you will be
ADVANCE SHOOTING NOTES
of being called to work without much reliable to find your way to the Makeup DATE SET SCENES CAST D /N PGS LOCATION

information, walking into a job that might trailer and on time. Sometimes you can
already be in progress with a group who sense a crazy, hectic situation, so be
have already established a relationship with proactive and get the information you need
each other can be tough. There are ways to yourself to get to work the next day. Expect
make sure you are on the right track. The a call from an AD. When you do get your
UPM 1ST A.D. 2ND A.D. 2ND 2ND A.D.
following will help you to understand the call sheet, read it carefully. Take mental
dos and don’ts of a Day Checker for daily notes on what is being shot, how many
hire, and how to watch the set. background players there are, what is the FIGURE 12-1: CALL SHEET FRONT
 CREW CALL: DATE:
# STAFF & CREW NAME Call Time # STAFF & CREW NAME Call Time # STAFF & CREW NAME Call Time
PRODUCTION MAKEUP / HAIR CATERING
1 Director 1 Makeup Dept Head x Company
1 EP/UPM 1 Key Makeup x Chef time period, whether it day or night, what parts they will be playing is important
1 Prod. Supervisor 1 Makeup Caterer
1 1st A.D. x Breakfast Ready @
1 2nd A.D. Crew:
interior or exterior. information for preparing what you will need
1 2nd 2nd A.D. 1 Hair Dept Head B.G.:
1 Set P.A. 1 Key Hair x Lunch Ready @ to bring to work. The call sheet will also tell
1 Set P.A. 1 Hair Stylist Crew: Why is it important to know these things? If
1 Set P.A. B.G.:
1 Set P.A. SET OPERATIONS
you where to go and what time to be there,
1 Set P.A. x Craft Service the weather is bad, bring the right things to
Addl. P.A. WARDROBE who to call in cases of an emergency, and
Addl. P.A. 1 Costume Designer wear. Are you outside all day? Be prepared
Addl. P.A. 1 Asst. Designer Ready @
Addl. P.A. 1 Cost. Supervisor Crew
who else will be working with you. The
1 Key Costumer B.G. to work under any weather situations and
1 Costumer following numbers correspond to the
1 Costumer ASSISTANTS
1 Assist to Director O/C
for long lengths of time. Layered clothing is
1 Assist to Producer O/C numbers on the call sheet and explain what
1 Script Supervisor Mariana Hellmund 1 Assist to Producer O/C a must when working outdoors; bring items
CAMERA 1 Assist to Director O/C they mean. A film call sheet is two sided; a
1 D.P. 1 Assist to O/C
1 "A" Cam. Operator 1 Assist to O/C
such as scarves, rain boots, coats, and
1 "A" Cam. 1st A.C. commercial call sheet typically is one sided.
1 "A" Cam. 2nd A.C. TRANSPORTATION sweaters. Maybe your set bag needs to be
1 Loader 1 Transpo. Captain O/C
1 Transpo Co- Captain O/C
This is a film call sheet.
1 "B" Camera Operator PROPERTY
plastic or covered to protect it from the
1 "B" Cam 1st AC 1 Prop Master
1 "B" Cam 2nd AC 1 Asst. Prop Master VEHICLES & EQUIPMENT rain. Should you bring an umbrella? What if
1 Prop Assist
• Name of the production company, their
1 Stills Photographer Single Trailer (s)
GRIPS Prop Truck you are outside all day and it is hot? location, and phone numbers. In case
220 1 Key Grip Grip Truck P 221
1 B.B. Grip SET DRESSING Electric Truck E Sunscreen will be a must to apply on
1 Dolly Grip 1 Set Decorator Camera Truck R there is an emergency, you can contact the
1 "B" Cam Dolly Grip 1 Leadman Wardrobe/MU Trailer
1 Company Grip 1 On Set Dresser Honeywagon T yourself and on the actors you are working Production office to find out what your call
1 Addl On Set Dresser 2 Banger (s) R
1 Addl On Set Dresser 15 Pass Vans A

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3 Banger N
on. Hats also protect you from the sun. times are or where you are supposed to be.
Director's Car S

A
Hair Make Up Trlr P Sunglasses help with the glare. Working
1 Key Rigging Grip O • Names of all the Producers, Assistant
1 B.B. Rigging Grip ART DEPARTMENT

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1 Prod. Designer
indoors can mean cramped spaces, humid
SET LIGHTING 1 Art Director PRODUCTION OFFICE Directors (ADs), Writers, and the Director.
1 Gaffer 1 Asst. Art Director 1 Prod. Coordinator O/C air, and possible excess sweat. Indoors, you

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1 B.B. Electric 1 Art Dept. Coord. 1 A.P.O.C. O/C It is good to know who the ADs will be.
1 Electrician 1 Art Dept. P.A. 1 Prod. Secretary O/C
1 Electrician 1 Office P.A. O/C
might want to stay compact and bring a
1 Electrician 1 Office P.A. O/C Besides the makeup department, you will
1 Electrician 1 Offfice Intern O/C small portable fan for a little airflow. How
1 Genny Operator

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1 Base Camp Genny Op. 1 Publicist O/C
be dealing with AD department. They
ACCOUNTING many background players are coming in?
1 Rigging Gaffer 1 Production Acct. O/C control the set, the schedule, and the
CONSTRUCTION 1 1st Assistant Acct. O/C Reading this information will tell you how
1 Construction Coord 1 2nd Asst Acct. O/C
1 Constuction Foreman 1 Payroll Accountant O/C
environment on the set.
1 Key Carpenter busy it is going to get. The call sheet will
1 Key Const. Grip
SOUND & VIDEO 1 Const. Grip EDITORIAL • The first time listed is the crew call. This
1 Mixer 1 Shop Electric 1 Editor O/C
also tell you what time period the movie is
1 Boom Shop P. A. 1 Editor O/C is also called the general crew call, and is
1 Cable 1 1st Assistant Editor O/C in for that day. Adjust your makeup kit to
LOCATIONS what you’ll need. Don’t bring in natural the time that most of the crew reports for
1 Video Playback 1 Location Manager O/C
SCENICS 1 Asst. Location Mgr O/C
SPECIAL EFFECTS 1 Scenic Charge 1 Locations Coord. O/C makeup colors if you are creating 1980s work. Not the makeup department, we
1 SFX Coordinator 1 Stand By Scenic 1 Location Asst. O/C
1 SPFX 1 Location Asst. O/C have a separate call time, usually much
1 Location Asst. O/C
characters. Use common sense. These are
1 Location Asst. O/C
1 Location Asst. O/C just a few examples of why it is important earlier. Do not confuse the crew call with
VISUAL EFFECTS 1 Locations Scout O/C
1 VFX Supervisor CASTING 1 Locations Intern O/C the Makeup call, they are usually not the
1 VFX Producer 1 Casting Director ADDL EQUIPMENT to read the call sheet and to figure out how
1 VFX Coordinator 1 Casting Associate
1 Casting Assistant to prepare for the day. same. The second time listed is the shoot
MISCELLANEOUS
1 Product Placement 1 Extras Casting call. This is the time that production has
1 Dialect Coach 1 Extras Casting Dir.

scheduled to starting filming. Makeup

TRANSPORTATION DIRECTOR & CAST PICKUPS ON THE JOB
P/U call times are on the back of the sheet
P/U
P/U How to Read a Call Sheet for film 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
FIGURE 12-2: CALL SHEET BACK background artists will be working, and the production has already been shooting.
 This is good to know because you can Total Pages: Total number of pages being Advance Schedule: What scenes will shoot work out everything for you. After a rate is
judge how fresh or tired the Makeup shot that day. and where for the next few days. agreed upon, the agency or Producers might
Department might be when you first start ask for a résumé, reel, or CD of your work.
Cast: Actors working that day. Producers, Production Supervisor, and first
working. The more days they have been This happens mostly if you have never
AD sign off on (approve) the call sheet. Set
filming the more tired! Character(s): Name(s) of the character(s) worked with the agency or Producers
phone number and contact in case of an
Crew Call: the time the Crew is called into the actor(s) will be playing. Each character before, and they want to get an idea of what
emergency.
work. is assigned a number, this number is used your makeup looks like in print, and who
to show the character on the call sheet and Flip side of the call sheet: All Departments you have worked for in the past.
Weather forecast for the day of shooting. shooting schedule. and the names of the Crew members listed
Helps you decide what to wear to be and their call times.
comfortable and protected. This would also Stat: Work status of the actor. Shows if they Makeup Kits for Day Checking
include any protection you might need for work that day or are on hold, or traveling Day checking, or daily hire, means you are
your makeup kits, or for your actors. or off. DAY CHECKING: DAILY HIRE called in one day at a time. Even though
FOR COMMERCIALS you might get a heads-up on more days,
222 Reh: Time of rehearsals for the actor(s). 223
Closed Set: A closed set means no visitors. don’t count on it. Anything can happen.
Being called in as a daily hire for
Please remember this rule. You are there to H/MU: The time the actor(s) will go to Hair Although there are people who consider day
commercials is similar to film. There are a
work. It is not a time to show your friends

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and Makeup. checking to be the least important part of
few changes that you would need to be

A
the set. There will be names listed for you the Crew, that way of thinking is a big
Set Call: Time the actors are expected on aware of. Call sheets are not as extensive,
to contact to get permission to bring

BE
mistake. Department heads recognize the
set. and tend to have all information on the
someone on-set. importance of their daily-hire Crew. In

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front, sometimes with a storyboard attached
SC(scene): Scene numbers in the script Remarks: What time the actors will be general a department head that values their
so you know how the commercial is being
picked up from their hotel, or home, or if crew, runs a more efficient crew and gets

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being shot that day. shot. You do not have to worry about
they self drive. better results in the final outcome of the
bringing in copies of your IDs. Copies
Set Description: What is being shot and makeup look desired for the film. As a
Atmosphere Stand-ins: How many stand- might be made for you by production, but
what the shot looks like. If the shot is matter of fact, on a large feature film or
ins and background actors are working that even that might not happen. A day rate is
indoors or outdoors. project that Makeup Artists want to be
day. Also, what characters they play. also decided on between yourself and the
D/N: Day or Night. Indicates if the involved with, they often work as Day
Producers. What you charge is up to you,
scene being shot is a day scene or night Report: What time stand-ins and Checkers. Skill is so important on this level,
but never go below the asking rate.
scene. background actors report to Hair, Makeup, for often you are left alone to make your
Remember that the less you charge, the
and Wardrobe. own judgment calls.
more people perceive you as someone who
Pages: The number of script pages for the
Set Call: The time stand-ins and is not in demand. When assisting another The right makeup kit for the right job is
scene being shot.
background actors report to set. Makeup Artist, he or she will tell you what also important. If a department head has
Cast: The cast members appearing in the they have in the budget for you. Working phoned ahead to recommend bringing very
scene being shot. Remarks: Directions on where to report and
with another pro is a good experience. little or just what is needed, take heed to
at what time for stand-ins and background
Working by yourself means more that request. The department head knows
Locations: Where the scene(s) is/are being actors.
responsibility, so remember to keep your what is going on with their shoot. There is
shot.
Department Requirements: Notes on what rates where they should be. You’ll be asking always time to bring in a larger makeup kit
Holding and Catering: Where the extras each department needs to have for scenes for a flat day rate, with overtime after 10 if you are hired for more days, or if you are
are being held, and where the food is being worked that day. Example: Makeup hours and a kit fee. If you are with a assigned a specialized makeup procedure
located. Dept. blood for scene xx. makeup agency, your representative will such as laying down sideburns for a period
 piece. You most likely have had containers to fill with your favorite • Fresh Soy Face Cleanser Makeup Remover bag lightweight and portable for easy
conversations with the department head on products. Remember to stay portable! • Lancôme Bi-Facial Double Action Eye maneuverability while on-set. If you are
any special makeup to bring with you. Makeup Remover shooting outdoors, be sure to check the
NOTE: most artists have a makeup kit or
Every now and then, a production comes to weather conditions. You might need to use
case, a makeup bag with additional supplies • Evian Eau Minerale Naturelle Spray
town and the Makeup Department has not a case that is waterproof or covered if rain is
(including a treatment bag), a set bag or
expressed to you what it is you will be • DHC Coenzyme Q10 Water Mist expected. A hard, portable gym locker bag
case, and a set chair. The average pieces are
doing or what to bring. Doing a little • Travel-size container of witch hazel works well because it is compact and has a
three. Some artists are great packers and
research on the production gives you a feel long strap for shoulder use, as well as
have it down to two! • Sephora Makeup Brush Cleansing Wipes
for the time period of the movie, and you handles for carrying. It is also waterproof,
can bring what you feel is needed. • DHC Makeup Off Sheets so it works well outdoors in rustic
Gretchen’s Treatment Products for
the Treatment Bag • Wet Ones Moisture Wipes Travel Pack conditions that may include rain, snow, or
The following Makeup Kit will cover you in
• Kiehl’s Ultra Facial Moisturizer for all skin high temperatures. Indoors or on smaller
all your needs as a Day Checker or union • Murad Day Reform Treatment (works well
types shoots, use a clear, larger set bag with long
Makeup Artist (Figure 12.3). If you are to apply on the skin before airbrushing)
224 straps, and that rests close to the body. 225
working a non-union production, this same • Kiehl’s Sodium PCA Oil-Free Moisturizer • Sunscreen SPF 45 or higher With a clear bag, the contents are readily
Makeup Kit would apply, but with the (for those who do not want any oil added
• Rubbing alcohol in a small bottle visible, which makes it easy to find a

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addition of hair products. Every Makeup to the surface of their skin)
specific product. (You’d be surprised at how

A
Artist has their favorite products, and no • Natura Bisse Sponges
• Kiehl’s Cucumber Herbal Alcohol Free hard it can be finding items when you need

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one or another is wrong. The products • Small, clean towels
Toner (transfer to a smaller bottle, or use them fast!)
listed below are listed because they are

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the travel size and refill from the large • Eye Tees Precision Makeup Applicators
popular with other working Makeup Along with the products mentioned below,
16.9-ounce container when needed) • Small scissors for cutting cuticles
Artists—we are constantly trying out or a small, clear cosmetic bag containing the

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using products that have been suggested by • Kiehl’s Blue Astringent Herbal Lotion • Larger scissors for all-around use products you will need to use on the actor
other professionals. I would also suggest (transfer to a smaller bottle, or use the for touch-ups on-set is useful. Large freezer
• Diamancel Nail File
that you buy small sizes that can be refilled, travel size and refill from the large 16.9- bags would also work. If you have several
ounce container when needed) • Disposable shavers
or products in tubes, or use small labeled actors to watch, use individual bags marked
• Kiehl’s Close Shavers Shaving Formula • No shred cotton pads with each actor’s name so there is no sharing
#31-0 • Sugar-free gum or mints in a variety of
• Kiehl’s Ultimate Brushless Shaving Cream flavors and brands

• Terax Body Moisturizing Shaving Cream • Norelco trimmer

PRO TIP
• Kiehl’s Men’s Alcohol-Free Herbal Toner • Tissues
Makeup Artist Jenny King Turko suggests
• Clinique Skin Supplies for Men, M Shave Set Bag covering up your powder puff with a
Aloe Gel The contents of a set bag or case is an Kleenex tissue. After touch-ups, toss the
• Remington Face Shaver Pre Shave Poudre individual’s preference. You can be on-set tissue away and put a new one around
• Kiehl’s Washable Cleansing Milk for Dry, for long lengths of time, and might not be the powder puff. This way, you can touch
or Normal to Dry, or Sensitive skin types 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.
FIGURE 12-3: A TREATMENT BAG AND FILM DAY- • L’annine Hand and Body Crème
are watching large background scenes or
CHECKER BAG AND CHAIR
• Kiehl’s Lip Balm #1 with Sunscreen one or two individuals. Try to keep your set
 products between the actors. Most of all, this • Small Bliss Body Butter The last five items of the above list I store in • Air Craft Airbrush Makeup in all colors
will keep brushes and powder puffs separate. • Small Lise Water Solution Double Instant my set chair (if not needed) and then they • Shiseido Stick Foundations
Eye Makeup Remover are readily available on set.
I usually load up three or four puffs ready • RCMA KO/MB Palette by Vincent
to go. Bottom line is whatever works for • Kiehl’s Lip Balm SPF 15 Kehoe
you on deciding what products you like to • Small Kiehl’s Intensive Treatment • Sehora makeup brush cleaning wipes
use. Moisturizer
PRO TIP • Visiora MV in all colors
• Carmex
Gretchen’s Set Bag: Contents for Film Set Working in HD, I rarely use powder. If • DermaColor Camouflage System
Day Checker • Small Kiel’s Creamy Eye Treatment you need to use powder switch between • Mellow Yellow by Ben Nye
(See Fig. 12-03 for Picture of Film Day • Andrea Eyelash Adhesive several products like anti-shine, blotting
• A few setup towels
Checker Bag) papers, and no color pressed powder, to
• 2 containers of individual eyelashes in
avoid too much build up. • 1 metal palette to blend makeup
• Kleenex tissues dark brown and black
226 • 1 book of artist paper to blend makeup 227
• Peter Thomas Roth Clinical Skin Care Max • 2 eye shadow palettes with the following
Anti Shine Mattifying Gel colors (black, dark brown, light brown, off- • 1 palette knife
white, rust, gray blue, taupe); eye shadow • RCMA No Color Powder

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• Sponges
palettes by Make Up For Ever and Viseart

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Gretchen’s Makeup Bag for Film Day Checker • Laura Mercier Secret Brightening
• Powder puffs
• Yves Saint Laurent Touche Esclat Radiant

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The makeup you bring as a Day Checker on Powder
• Wet Ones Travel Pack Touch a film set can be contained in a bag or case

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• Lancôme Dual Finish Powder Makeup
• DHC Body Cleansing Cloths • Lancôme Dual Finish Powder Makeup of some sort. If you are directed to bring
makeup for a certain character or time • Iman Pressed Powders

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• Evian Eau Mineral Spray • Natural Rice Oil Absorbing Rice Paper
period, you should adjust the contents of • Guerlain Bronzing Powders
• Pointy Q-tips Tissues with Rice Powder and Bobbi
your makeup bag to fit the need. If the • Tarte Stick Color Stains in all colors
Brown Blotting Papers
• 1 package of disposable mascara wands job is going to entail helping out the
• No color powder pressed compact • Eye shadow palettes in various colors
• Remington Face Saver Pre Shave department head most of the time, and is
• Peter Thomas Roth Anti-Shine (I like to have a shadow palette that is
not so much about applying a lot of
• 1 small bottle of glycerin compact that I can use on anybody for
• SmashBox Compact Anti-Shine makeup, you won’t need to bring a bulky
• 1 small pair of scissors large crowds. Colors in black, dark brown,
case. A clear bag with a large strap and
• 1 red eye pencil taupe, creams, white, blue, violet, green,
• Band-Aids handle that can accommodate only what is
• 1 black eye pencil and gray. Personally, I have every NARS
necessary should work. What you do and
• Small eye pencil sharpener compact that has come out! My favorite
• 1 menthol vapor for the eyes how you transport your makeup becomes
• Tweezers, Laura Mercier by Tweezerman for on-set is Skin Deep.)
• 1 color each of Tween Time colors for hair a personal challenge. Changing out your
• 1 eyedropper makeup to fit the job at hand happens no • Eye shadow palettes in frosty gold tones
• Small squeeze bottle of Ken Diaz KD151
• 3 Cutex Nail Polish Remover Pads matter how well you think you’re organized. • Eye shadow palettes in frosty silver
Flowing Blood Syrup, Drying Blood in
Having at home a few different makeup tones
• Refresh disposable eyedrops Dark and Light
bags or cases already set up and ready to go
• Skin Illustrator Flesh Tone Palette • Blushers (Blushers should be simple. Light
• Visine helps cut down the “What to bring?”
pink, coral, burgundy, red if needed,
• Gum and mints of choice (regular and • Skin Illustrator FX Palette question.
and a warm neutral color. Again, I can
sugar-free) • Reel Color Palette Cover-Up/Effects Kit (See Fig. 12-03 for Picture of Film Day usually find this combination of colors in
• Small Jao Antibacterial Hand Refresher • Braun electric shaver Checker Bag) a palette, therefore I don’t need to bring a
 lot of loose colors. Make Up For Ever has • Hand held fan (for those hot days or Just as with film shoots, someone should be will need a copy of your makeup kit rental
a good combination of colors you can put sets) contacting you with your call times the day inventory, which includes a total value and
together. I have one or two creams that I before you are to work. Call sheets are product list, an invoice for your makeup kit
can use if someone has a dry skin tone.) Set Chair usually faxed or emailed. Follow the rental fee (or Box Rental), and a copy of
There is not always a reason you have to directions and get to work on time! your IDs. Whatever you do, don’t forget to
• Kiehl’s Lip Balm SPF 15 in hues 30G and
use the set chair, but it is good to have if bring these in. Everyone is so busy; for
58B When you reach Crew parking, you’ll be
you are sitting long lengths of time. In film, Production to hear your reasons for
• Kiehl’s Lip Balm SPF 15 escorted by a van to the Makeup setups. In
it is important because of the amount of forgetting is beside the point. They need
commercials, RVs are usually used instead
• Laura Mercier Brow Powder Duos in all time you do spend shooting. Everyone has the information to process your start
of Makeup star trailers. There can be several
colors their favorites. Every day, new bags and papers so you can get paid. Try to make life
locations in one day, so traveling is easier
chairs surface that we all like to check out. easier for everyone. I usually have
• Bobbi Brown Long Wear Gel Eyeliners in for Production in RVs. Plus, the number of
I still like my larger chair that has a pocket several copies ready to go ahead of time. Fill
all colors actors you’ll be working on at one time can
below that I can stock up with extra items. out the correct information for that job. I
• Brow pencils in all the brow colors be smaller. Of course, this isn’t always the
228 You will find yourself storing those extra put the papers in my makeup kit so 229
case.
• Eye pencils in black, dark brown, dark pieces of clothing for different weather not to forget. The Makeup Department
blue, dark green, and white conditions. The chair is compact and easy Once you have set up, an AD should start should have your start paperwork on the

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to move in a hurry. Feel out your bringing in your actors. Once done, you’re first day to fill out and turn in. The

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• Lip Pencils: M•A•C Rosewood, Trish
McEvoy Deep Nude, T. LeClerc Tendre, department heads and observe what they off to set! On commercials, clients who are combination of the papers you brought in

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M•A•C Mahogany, Guerlain Rouge #2, are doing. In some cases, the Production or representing the company that is being and the start papers you’ll fill out are turned

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By Terry #11, #12, Lancôme Lip Coloring Makeup team does not believe in sitting filmed are on-set. Clients are there to make in together. If the Makeup Department does
Stick Inspire, Mauvelle, Lancôme down on the job. Although this is rare, sure the company is getting what they need not have start papers for you, find the

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LipColor Cherub. Plus a few colors that don’t assume that everyone brings their out of the shoot. Be professional at all times. Production trailer and get the papers
will work in any situation: pink tones, chairs to the set. You never know who is listening or who it yourself. Again, it looks good for you to
coral tones, reds, burgundy, and a rust is that you might be talking to. know where to go and what to fill out
COMMERCIAL VERSES FILM correctly. If you have any questions about
color. Yves Saint Laurent Touche Éclat, all At the end of the shooting day, make sure
of the colors Makeup kits for the commercial world are your rate or pay, if no one has told you, or
you’ve filled out your time card. Turn in
similar to film. There are a few differences if they don’t know, ask your local union. If
• A variety of lip glosses in tubes your time card to Production. Be sure to
between the two. For one thing, you the Makeup Department is from a different
• Bobbi Brown eye brightener stay for the actors to help remove any
probably will need to bring a hair kit as Local they might not know your rate. Rate
makeup if needed. If there is room, I like to
• Laura Mercier Secret Brightener well as the makeup kit. In many cases one of pay fluctuates with regions and union
have hot towels available.
person does makeup and hair for a locals. If you think about it, not knowing
• Laura Mercier Eye Basics Liner
commercial. Do not do hair if you are not Now you can find your way back to Crew what your salary will be isn’t very
• Lancôme Definicils Waterproof Mascara qualified or comfortable with it. If you are parking. Drive carefully and slowly going professional.
• Lancôme Definicils High Definition working on a non-union shoot, you most back home. You’ve worked long hours.
Mascara definitely will be doing both. On a union A Kit Fee is also called a Box Rental and is
• Trish McEvoy High Volume Mascara shoot with a budget for two or more artists, based on a daily fee paid to you to cover the
TIME CARDS AND KIT FEES:
they will hire a Makeup Artist and a cost of working out of you kit. It covers your
• Brush roll with a variety of brushes INSTRUCTIONS
Hairstylist. The union requires that all makeup brushes and makeup products—
• W.M Creations, Inc. Stacolor palette (full hairstylists are licensed in cosmetology and Get your start paper documentation in order your kit. Almost always, expendables are
palette) keep their license current. to bring with you. On union shoots, you provided by the makeup department (in
 film), but always pack plenty of supplies in commercial that you have to purchase, you This way it is great to get notes or directions
case they are not there when you start work. can turn in the receipt for reimbursement. on where you are supposed to report and
Always be ready to work! Kit Fees are negotiated for each job; most PRO TIP what makeup you will be doing that day.
artists have a standard fee they charge along Many times you will be asked to go and set
East coast trailers are more stable, and built
Expendables are tissue, cotton balls, with their rate. In day checking on a film, up, and the Key Makeup Artist will find you
for cold weather, so they are heavier with
sponges, puffs, alcohol, brush cleaner, the Kit Fee is set by production and the to explain what they want. This could also
less “bounce.” West coast trailers are not
Q-tips, etc. In commercials you provide makeup budget; it is not negotiable with be the Third or Fourth Makeup Artist.
built for cold weather so they are lighter
everything. If something is needed for the day checking. 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 floor space. In
Europe, work is done out of customized A typical makeup department has:
buses. European buses and trucks are nar-
230 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

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2) Assistant Makeup Department Head

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3) Key Makeup Artist
When arriving on-set for the first time, if

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you do not know where to report, check in 4) Makeup Artist
with the department head so they know you 5) Additional Makeup Artists.

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are here. Knock softly and peek in. There
There can also be a Makeup Designer. If
FIGURE 12-4: AN EAST COAST MAKEUP FIGURE 12-6: A WEST COAST MAKEUP isn’t really any need to go into the trailer
TRAILER—OUTSIDE TRAILER—OUTSIDE 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
FIGURE 12-5: AN EAST COAST MAKEUP FIGURE 12-7: A WEST COAST MAKEUP
this is the person you will be checking in from the ADs for their actions and
TRAILER—INSIDE TRAILER—INSIDE
with. motivations. These background actors have
 already gone through the Costume, Hair, need to be powdered or touched up. You Visiora005,” or just “use 005.” These three
and Makeup Departments before being are there to take care of the background terms are referring to the same one product,
brought to set. artists that are around them. So know who that if you do not know what it is, you will
Instructions you will hear are: the actors are and who you are responsible not know that you are being asked to apply
for, and don’t try to impress your foundation using this specific color
Working With Background: That means department head by being an over achiever (Industry Standard). Makeup and film slang
you are hired to do makeup for the actors and powdering everyone in sight. If you are abbreviate just about everything, including
in the background. unsure, ask! products, and sometimes instructions. It is
Report to Background Holding or Extras confusing at first, but you will get the hang
There are certain makeup looks that are
Holding: Where to show up for work, or of it. Remember, if you don’t know, ask!
used regularly in film and television. A few
where to go. Usually a large room or tent FIGURE 12-8: A HOMELESS PERSON
of those would be police officers, homeless Having trouble remembering what colors to
away from set, designated for the
people, drug addicts, pedestrians, diners in use or which looks to do for a certain
background.
a restaurant, waitresses, bartenders, news period makeup? Tape a color chart and
232 233
Check the Background: You are being reporters, news anchors, and children. The notes on each period inside your makeup
asked to look at the background that the other common makeup situations are for kit for a quick reference guide.

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AD has assembled for you, and to decide period makeup.
Remember color mixing from Chapter 3?

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who needs makeup and who is ready to go
to set. The department head will decide

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WORKING OUT OF YOUR KIT Red: You can mix yellow and magenta to
who has this responsibility. get red.

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You will need a variety of products and
Working in background, you will often palettes in your makeup kit so that you can Blue: Mix magenta and cyan.
work on many actors in one day. The

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create any of these looks. “Working out of
department head will give you directions Green: Mix cyan and yellow.
your kit” is a term used by makeup artists
on what he or she wants as far as the look to tell you that you will be creating looks Purple: Mix violet and magenta.
for the actors. Descriptions of special with what is in your kit, and not specially FIGURE 12-9: A DRUG ADDICT
background can be found on the front of Black, White, and Gray: Mix white into
purchased products that are given to you
the call sheet. In some cases, the black until you get the desired shade.
by the Makeup Department. You rely on
Supervising Makeup Artist will give you a Industry Standards that are in your kit. As Knowing combinations gives you so many
list of the different looks for the background we’ve mentioned before, the palettes from choices to work with!
that day. Swiftness is important when Skin illustrator, stacolors, and Reel
working in large crowd situations. Having Now separate the three background actor
Creations are Industry Standards that
an idea of what makeup colors and looks of homeless (Figure 12.8), drug addict
encourage mixing to create a more realistic
products work or do not work speeds up (Figure 12.9), and illness (Figure 12.10) to
makeup that is long lasting and abrasion
the process. Always follow specific see their differences.
resistant. They are essential in working out
directions from the department head or of your kit, and for those unplanned
Supervising Makeup Artist. makeup situations where you have to work Homeless
On set note: never touch up a principle quickly, on set. There will also be many • Red or sun-damaged skin with various
actor on set unless you have been asked to times that instructions are given to you in sizes and colors of sun spots.
cover that person! You do not know the “makeup slang” for products. Example: you • Skin tone has rough, leatherlike surface
FIGURE 12-10: A PERSON WITH A COLD
actor’s continuity, so never assume that they are asked to “use MV005” or “use due to exposure to the elements.
 • Broken capillaries around the nose and Artist. For this example, your instructions powder stick, astringent of choice, and a
cheeks to reflect substance abuse and are for a cold/flu. small groomer for eyebrows, ears, and nose.
weather damage.
Cold/Flu: Red tones around the nose with
• Lesions of various sizes due to illness and dry, flaky skin. Eyes can appear red and News Reporter and News Anchors
injury. droopy, even watery. Paler skin tone that News anchors and reporters usually have a
could be clammy. A dryness to the mouth. clean-cut appearance as well. If there is a
• Ground-in dirt on the body, under
time period issue, you will be told to address
fingernails, and even built-up grime from
Would you apply foundation or do any that issue. If it is present time, the anchor
lack of grooming.
corrective makeup on these characters? No. look is what to aim toward. Work quickly,
• Facial hair would be untrimmed, The worse they look, the better, in all three and spot cover up only the problem areas.
unshaven, oily, and dirty. scenarios; and you do not want an even Apply a slightly heavy beauty makeup; to FIGURE 12-11: A 1950S MAKEUP LOOK

• Darkness, puffiness, and redness under skin tone achieve a matte, perfect look. Most of the
and above the eye. Red pencil can be used for rimming the eye time, lipstick, blusher, eye shadow, and
234 brows are all you will have to do to achieve a 235
• Small cuts or scabs on the face, with area or applying right on the lower lash
weathered lips. line for irritated eyes. Several shades of news anchor look. The Hair Department will
pull the look together. Reporters and anchor

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• In some situations, the feet must be done red makeup colors are used for broken

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capillaries, red noses, and lesions. Have on types sometimes are pulled ahead of
as well. The soles of the feet should be
everyone else to go through the Makeup

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blackened with heavy grime, cuts, and hand different colors of brown or colors to
mix browns for dirt and grime. One black is Department because they are usually

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bruises.
used to deepen or darken an existing color, featured in the scene.
plus one white to lighten any existing color

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Drug Addict
• The skin tone tends to be pale and or to make grays. Yellow is used for nails, Period Makeup
clammy from drug abuse. skin tones, and festering lesions or old Refers to a specific time period for the look FIGURE 12-12: A 1960S MAKEUP LOOK
bruises. Care needs to be taken when or trend of that time. Say you are asked to
• Darkness forms under the eye area from
working around the eyes. Use a cream- do a period makeup, taking five minutes for eye lash line, beautifully shaped and filled
lack of sleep.
based makeup or a freshly sharpened each actress because the actresses are in a in eyebrows. Apply lipstick, eyeliner, and
• Skin lesions form from drug abuse and pencil. large crowd scene. If you could do only brows. A very clean, sometimes innocent,
illness. three things on the actress, what would you classic look. Note the shape of the lips.
• Track marks on the body from shooting do to execute the makeup properly for the
Police Officers 1960s (Figure 12.12): Pale flat or frosty
up. following time periods? And what sets each
One of the first things you’ll do is clean (but never glossy) lipsticks, strong upper
time period apart from the others? We will
• Bruising on various parts of the body, old shave all law-enforcement characters. There and lower eyeliners, contrasting eye
give you some very general looks for each
and new. should be no facial hair, with exceptions shadows on the eyelids. For example: light
decade. You must do your own research for
given only by your department head. shadow on the lid; a deep, dark eye shadow
each decade to recognize and know a more
Illness Mustache’s are allowed for most Police in the crease; followed by a light eye
detailed history of the trends.
There are many possibilities for illness: cold, Departments. Sometimes sideburns need to shadow applied on the brow bone. The look
flu, high fever, and disease. You will be be trimmed. The back of the neck needs to 1950s (Figure 12.11): Red lips, pale eye is about eyes, so note the style in eye
directed as to what the illness is, and what clean shaven. The officers should have a shadows applied to the upper eyelids, nice shadow, eyeliner, and brows, as well as the
the desired effect should be, from the clean-cut appearance. On all shoots, be liquid eyeliner across the upper eyelid next lips. Apply lipstick, eyeliners, and eye
department head or Supervising Makeup prepared with a good electric razor, shave to the lash line, no eyeliner on the lower shadows.
 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-
FIGURE 12-13: A 1970S MAKEUP LOOK FIGURE 12-14: A 1980S MAKEUP LOOK 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
236 of trends between the beginning of one 237
the theme of the shoot, the makeup look
1970s (Figure 12.13): Women and men in blues, greens, and brown colors were worn decade and the end of the previous de-
wanted, if it’s an inside or outside shoot,
the early 1970s were riding the wave ushered as eye shadows. Makeup was applied, but cade. Livestyle, environment, economics,

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and how many models. For beauty, it is
in by the counterculture from the 1960s. not heavy or over-the-top. Dark brown and character play into it as well. Know

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important to ask the Photographer the
Freedom of expression through fashion and tones or black would be used around the the year if possible to achieve the look. If

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reference of the model. The Photographer
makeup was seeping into mainstream eye area as liner, but much softer than in the project is not being year specific but
can either send her portfolio to you by

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society. Men had cast off the “above-the- earlier years. Lipstick colors were found in wants a general feel of a period, choose to
email, or you can look on the agency’s
collar” hair restrictions of previous decades, corals, pinks, oranges, and soft reds. If you go for the obvious trends associated with
website for the model’s portfolio book.

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and began wearing their hair much longer. had only three things to do to create a ’70s the decade. Research, research, research!
Once you have all the information, it is time
In addition, facial hair had become popular, makeup, what would they be? Know the trends by heart, it puts you at a
to start thinking about the makeup,
which included long sideburns that often great advantage.
products, and to double-check to make sure
widened as they extended down the face, 1980s (Figure 12.14): In the 1980s, no
you have everything you’ll need for the
and full mustaches. Hence, facial hair is a matter what colors you were using, makeup
shoot. A lot of times, the Photographer, or
large part of re-creating the ’70s look for was applied heavy. Makeup and hair were
even the client, does not know how to
men. By the mid 1970s, women kept their used as an art form. Depending on who it LESSONS FROM THE FIELD
express themselves in the form of makeup
hair natural whether long or short. Natural, was that you hung out with, everyone today
EXAMPLE OF A BEAUTY MAKEUP and colors, so it’s up to me to find the right
meaning that it was devoid of hairspray, has a different take on what colors were
(STORIES) SHOOT IN PARIS look. Working in fashion is different from
hairpieces, and setting gels of any kind. Eye used in the ’80s. The colors ranged from the
by Daniela Eschbacher cinema. It can be spontaneous.
shadow was colorful and warm (greens, punk look (with black liners and dark eye
blues, brown) with or without eyeliner; shadows) to the preppy look (girls with rust When I started out in the fashion industry, Even if you agree on a certain look before
blush and lips in corals, pinks and frosts. or fuchsia-colored lipsticks with purple eye I contacted as many Photographers and shooting, it might all change on the actual
Sun-tanned skin. shadow). Of course, Madonna always comes Stylists as possible to do “test shooting” workday. On larger, more-complicated
to mind when one thinks of an ’80s look. first to build up my portfolio and contacts. shoots, there are meetings before the job.
Example of a Decade in Makeup:
Three things to use for an ’80s makeup: In the beginning, it’s hard contacting The Stylist knows the clothes, so he or she
Makeup varies from the early ’70s to the colorful lipstick, full eye shadow, and everybody and running after magazines. But gives a direction and theme of the shoot.
late ’70s, so questions should be addressed blusher. Use lipsticks in pinks, purples, all that hard work pays off. After working It can be really helpful to work with an
to the Makeup Department head on what fuchsia, rusts, and reds. Apply eye shadows for magazines and commercials, people will Art Director or Stylist because they see
look they are trying to create. In general all over the lid and crease, with a dramatic get to know you and pass your name and the overall image. Sometimes a simple
 makeup works much better than one too cream and a first-aid kit, to name just a light. Because I work with an airbrush,
sophisticated or creative. Meetings are few items. For photography, the makeup Temptu products mixed with an SB solution
important for meeting the team—it makes kit has a lot of products to create effects, work well.
the whole process interesting, fun, and such as glitter, different textures of
There are no limits in beauty and
human to take the time to sit down and glosses, all sorts of eyelashes, powders,
fashion. Here are a few examples of
discuss the project. Of course, for stones, jewelry, and stencils. Stencils I make
different makeups for editorials or a beauty
commercial jobs, meetings do not always myself if possible; the rest I pick up here
story.
happen. and there.

Designing the Makeup Prepping the Model Location Shoot: a Luxury Hotel in Paris
Designing the makeup—especially if I’m For fashion or beauty shoots, start with The photographer used artificial light
working on personal shoots or beauty cleaning the model’s face with a mild liquid with an emphasis on strong contrasts. So FIGURE 12-15: DANIELE’S LUXURY HOTEL SHOOT
stories where everybody counts on the cleanser (Crealine), and apply, depending makeup needs to reflect well in the light.
238 creativity of the Makeup Artist—can be on the skin, an appropriate moisturizer. I’m 239
stressful. Even so, I love the work and Glosses, Oils, and Shimmers: After
not a fan of heavy creams or moisturizers. Theme Shoot: Madonna theme
preparation behind it. Before you start to cleaning the model’s face, apply natural oils
Natural oils and vitamins work well without The difficulty was to create color

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design, get as much inspiration as possible. onto the skin and the rest of the body that
affecting the foundation afterward. Nuxe combinations that would express and

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The internet is one, but mostly books and will be seen. Your goal is to have smooth,
Multiusage Dry Oil hydrates very well and strengthen the atmosphere and theme of the

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paintings. For myself, I love to work with shiny, and elegant skin. Let the oils absorb
won’t make the model sweat. It’s very shoot. I found my inspiration from religious
before applying foundation. Use eye

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color, so before I think about my makeup, important to check the hands. Nails have to paintings and books. The colors dark red,
I think about all the colors that will be used products that are moist and creamy in
be in good shape. No old nail polish or dry golden, gray, white, and silver were used.
and what atmosphere or feelings those texture, with soft eye pencils to work your

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skin. Apply the hand cream. Lips are very Because wardrobe and hair had such a
colors will cause to come across. shape for the eyes, blending and adding as
important because most models have dry strong look, I didn’t want to complicate the
you go. Purples and chocolate colors work
Once the colors are fixed, I start with lips. There can be a disaster once the model makeup. When this happens, use a matte,
well for this. To increase the contrasts, use a
effects: shiny or matte, graphic or shady, is in front of the camera, unless you take lightly applied foundation, no blush, and no
powder shadow in gray or black in only the
simple or complicated. Try to prepare as the time to prep the lips properly. contouring. White eyeliner applied on the
areas that are needed.
much as possible, but a lot of inspiration is Sometimes I do a soft peeling to take off the inside of the eye will accentuate any color
when you first see the model sitting in the dead skin, and afterward apply Elizabeth Mascara and individual false eyelashes just under the eye. In this case, a red and
makeup chair. Arden Eight Hour Cream—a must for every applied to the outside corners of the eyes yellow matte eye shadow from Make Up For
Makeup Artist. add drama and depth. Foundation is Ever was applied on the eyelid and below
Makeup Kit applied next. Follow with loose powder to the lower lashes. No shaping or contouring
Many Makeup Artists have a separate kit Beauty or Stylized Makeup set. Chanel has a good loose powder. A was used. Shadow was just posed on the
for commercials and photography. That Natural colors work best in most beauty bronzer was used to sculpt and shape the lid. When such strong colors are used, a
includes me. Commercials are not only very makeup. From creamy white to chocolate face. Creating depth and contours is tissue laid under the eye you are working
tiring, but you work with actors, which is brown. Warm colors also work well: pink, important in a shoot with contrast. The on protects the rest of the face from falling
different from working with models. Actors rose, peach, and oranges. In beauty brows were shaped by using three pencils in shadow. Loose powder can also be used.
need much more products and attention makeup, you want to look for textures that a mix of brown, black, and gray. Colors you Natural lip colors help keep the makeup
throughout the day. Therefore, I always could be interesting. Glosses on the eyes use will depend on your model, but a mix from being overwhelming. Shape the lips
have a security kit with me that includes create a very fresh look. On the cheeks, of three colors mimics the different colors of with a nude lip liner. Mix beige, purples,
eyedrops, different bases, a nail kit, body eyelashes, and eyebrows, gloss will attract hair found in the brows. and pink lip glosses to achieve a natural
 look. Don’t forget to finish off with a strong ON-SET hints to think about. Work much more with brushes made with these bristles are
brow. When working in photography always the contrasts, and even exaggerate the inexpensive and are made in large quantity.
check your makeup in the light of the intensity of colors and shades. There is a lot
Remember, with both makeups, you want Raccoon: North American animal with a
studio. The makeup preparation room is more “graphism” in black and white than in
to work in layers. Work the shapes and multicolored tail in grays and browns.
always bright, and the light is quite yellow. color photography because we concentrate
slowly go darker. It’s like working on a Raccoon brushes have a really soft texture.
The studio could be completely opposite. on the contrasts, shadows, and lighting
painting. To create something luminous and
Ask the Photographer to do a test photo to instead of the color. Graphic lines and Sable: An animal from Siberia and Japan.
strong, it’s always the combination of colors
see how the makeup comes across. Most structure work very well for the makeup, Sable is strong, flexible, and takes to
that accentuate the intensity of another
Photographers now work with digital such as strong eyebrows, eyeliner, nice products well. Sable can be found in brown,
color.
cameras that download right to the colored matte lips, nicely posed blushes. white, or yellow. Kolinsky sable is a mink
computer and show the results straight Still, it’s important to ask the Photographer found in Siberia and China, and is
TIPS away. This is very helpful. The exactly how he or she is going to work their considered the best. Red sable is from the
To glue anything on the skin or eyes, I use Photographer appreciates your taking charge light. Maybe the Photographer wants the weasel family, and is often used in place of
240 transparent eyelash glue. The only thing you image to be contrast and sober, or Kolinsky sable. 241
and knowing when it is a good time to redo
have to be careful of when you glue objects lips, add some gloss, brush the eyebrows, something luminous and mild. Try to avoid
Squirrel: Hair that is soft and holds water
on the skin is to clean around the object and powder the skin. It’s so much more too much gloss or shiny skin, except if it’s

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effectively. It works best with liquids.
afterward. Any sort of glue remaining on the desired to create a strong and wanted effect.

A
interesting to participate in the whole
skin tends to shine in photo lighting, and process of making a good photo. For black-and-white photography, it’s Synthetic or Taklon: Brushes that are made

BE
can be obvious in close-ups and beauty important to have a nice balance between of nylon or polyester. Synthetic brushes are

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stories. Take Down the Makeup warm and cold tones to make the skin look considered reliable and strong.
For makeup removal I normally use alive and beautiful.
Do not powder the face, especially for close-

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Crealine, which is easy to use and good for
ups. It’s really difficult for the retoucher Types of Brushes
all skin types. But prepared, de-makeup THINGS TO KNOW
afterward to correct it. Powder only certain Angled Brush: These are cut to use at
pads are fast and efficient, too. Some models Makeup Brushes
areas—around the nose, forehead, and defined angles. Blush brushes, shadow
prefer to take off their own makeup, Types of Bristles
chin—at the last minute. brushes, brow brushes, powder brushes,
especially around the eyes and lips. Others Badger: One of the most popular and bronzers, and contour brushes are examples
have their own products with them, which easiest to find. Badger hair quality depends of brushes that can be found cut at an
is understandable because of the amount of on an array of factors. The highest quality is angle. In some cases, the bristles are stiffer.
makeup they wear for work. Many models the neck hair, which is the softest and most
prefer not to mix all kinds of skin-care Blush Brush: Soft, wider, rounded brush
expensive of all badger hair.
products. used to apply blusher color. Blush brushes
Boar: Stronger and thicker than badger hair. are made from a variety of bristles.
Black-and-White Photograph Tip
Goat: Strong and soft. It’s used alone or Brow Brush: Angled or slant brushes with a
In fashion shoots, it is not always said if the
mixed with other hairs in makeup brushes. stiff bristle for application of brow powders.
job is going to be color or black and white.
Goat hair can be found in white, brown, or It’s also possible to find lash combs and
Sometimes it’s during or after shooting
red. brow brushes as duos.
when the Photographer works with
Photoshop to see what it could be in black Pony: Also known as camel hair. This is a Concealer Brush or Flat Brushes:
and white. Then the decision is made. If term for brushes made from a variety of hair Concealer brushes are usually flat brushes in
FIGURE 12-16: DANIELE’S MADONNA SHOOT
you are told ahead of time, here are some such as squirrel, goat, ox, or pony. Usually a variety of sizes used for cream-based
 products. These brushes are good for spot Fan Brush: Shaped like a fan and come in a Retractable: Brushes that can retract back KRYOLAN Water Soluble Spirit Gum:
touch-ups, heavy coverage with multiple variety of sizes. Fan brushes disperse into the handle of the brush. Some lip Removes with soap and water.
products, under-eye concealer, and blending powdered makeup and add color with a sheer brushes and blush brushes are made
Pros-Aide: Acrylic based, waterproof, strong
products. Many flat brushes can be used application. They can be used for applying retractable.
hold, used mostly for appliances.
wet or dry. mascara, as a powder or blush brush, a
Smudger: Any brush that is used to blend
stipple brush, or as a blending brush. Telesis 5 Adhesive by Premiere Products,
Contour Brush: Is used to get under and smudge the makeup.
Inc.: Silicone-based adhesive.
edges and contours of the face to create Kabuki Brushes: Brushes that are often
Sponges: Are used for just about anything
definition. The bristles are usually cut blunt used with mineral-type powder makeup. Very Flat matt Matt Gum by Naimies:
you can think of. They come uncut in
or at angles. They come in a variety of sizes and shapes. Used in the industry for lace fronts, facial
squares or precut and as a brush form.
The most common shape is a fan or dome. hair, or wherever you don’t want to have
Crease Brush: Smaller, with a blunter cut Good sponges are gentle on the face, do not
shine.
in the bristles. Crease brushes are used to Lash Combs: Lash combs lash are made soak up your liquid or cream makeup, and
apply eye shadows in the crease area and to to separate the lashes after applying aid in blending. Different brands of sponges Xtra Hold Spirit Gum and Extra Hold
242 blend existing work. mascara. are made from different materials. Plastic Spirit Gum by W.M. Creations, 243
Inc.: Two of the most popular spirit gums
Eyelash Combs: Wire or plastic combs that Lip Brush: There are many choices of lip Stipple: Several blends of bristles in the
in the industry. Used for fine lace fronts,

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are used to separate the lashes after mascara brushes, from shapes of the bristles to what brush, plus the shape of the brush works to
foam, gelatin, and silicone appliances.

A
has been applied. the bristles are made of. Lip brushes are create textures or as a blender.

BE
Eyeliner Brushes: Come in a variety of used to apply lip treatments and lip colors. Wet and Dry Brush: Brushes that are made Brush Cleaners

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sizes and bristles. Bristles usually taper to a Paddle Brushes: These brushes are shaped with several different kinds of bristles that Cinema Secrets: Fast drying.
point, which works well for lining, detail like a small paddle with a lamb’s wool can be used effectively wet or dry.

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work, powder, liquid, or water-activated Naimies: Fast drying.
covering on one side. They are used for
makeup such as KRYOLAN or MAC. There blending blush or makeup colors. INDUSTRY STANDARDS
are liner brushes that have several different Effects Products
bristles that can be used effectively wet or Powder Brush: Larger brushes with Antishines AM.E.K. Liquid Plastic by W.M.
dry. Also, flat eyeliner brushes can be rounded, softer bristles, often made with There are many products out there. Creations, Inc.: Use in stone or silicone
found. goat, sable, or badger hair. They are good Antishine creates a matte look to molds for wounds.
for dusting large areas of the face with loose wherever you apply product. We all have
Eye Shadow or Fluff Brush: There are color, or with powder makeup to dust off our favorite. One that’s been around for a Gelatin in Bulk: Burman Industries carries
many different sizes and shapes of a shadow any excess powder. while is Make-up International’s Face to gelatin products.
brush. The brushes are used to apply eye Face Supermatte. It works well for large
Puffs: These are found in so many different Latex Products in Bulk: Burman Industries
shadow colors. The bristles are usually soft, crowd scenes.
brands, shapes, and materials, but all used carries a wide range of latex products.
with a rounded shape at the top.
in basically the same way for makeup and
Face or Foundation Brushes: These
powder application, setting the makeup, Adhesives Old-Age Stipple
brushes are usually larger, flatter, with a
and touch-ups on-set. Beta Bond Plus by Premiere Products, Old Age Stipple A, B, C, Crusty by W.M.
rounded or oval bristle shape. Bristles can
Inc.: Acrylic adhesive for prosthetics. Creations, Inc.
be made in a variety of hair, including Pump Brush: Brushes made with the
synthetic to sable. Foundation brushes can product inside the stem of the handle. K.D. 151 Ultra Matte Lace Adhesive: Green Marble SeLr by Premiere Products,
cover wide areas of the face and body, and When the brush is pumped, the product Strong adhesive hold for action-packed Inc.: Developed by RSD Inc. and CMI.
work well with liquids and creams. disperses into the bristles. situations. Seals makeup, very durable, safe for
 sensitive skins, and also works as an aging Skin Illustrator Liquids by Premiere Water-Activated Makeup Super Solv by Premiere Products, Inc.:
product. Products, Inc.: Created by Kenny Ben Nye: Good for theatrical use. Non-oily. Extra strength but safe for
Myers/CMI. sensitive skin. Gentle enough for lace fronts.
RCMA Old Age Stipple Mehron: Good for theatrical use.
Stacolor Palettes by W.M. Creations, Inc.
Pax Paint Studio Fix by MAC: Good for flesh tones,
Sealers, Primers, and Fixers
Stacolor Liquids by W.M. Creations, Inc. editorials, and stylized beauty makeup.
Tom Surprenant Pax Paints Sealers protect your work, act as a stronger
bond for adhesives, and act like a shield
Pax Paint by GM Foam: Premixed Pax Makeup Palettes
Tear Products between the skin and a product.
Paint colors that match up to RCMA. Viseart Palette of Neutrals: A simple
Burman Industries Menthol Blower and
palette of neutral colors. This palette is Green Marble SeLr Spray: Also can be
Foundation Colors Crystals: A must for any makeup kit.
perfect for your set bag. used as an aging product.
Plastic Sealers A, B, Soft, Extra Soft, KRYOLAN Tear Stick
Shiny by W.M. Creations, Inc. RCMA Matte Plastic Sealer
Powders
244 Scab Materials Light, Medium, Dark, and Soft Sealer by W.M. Creations, Inc.: Also 245
Makeup Products Kett No Color: Pressed powder
Brown by W.M. Creations, Inc.: can be used as an aging product. Can be
Foundation or Correction Makeup No Color Powder by RCMA.
Pigmented, silicone-based liquid that is used sprayed or stippled over makeup.

P RO
Ben Nye Mellow Orange: Neutralizes blue

A
for building up three-dimensional scabs. and green. Top Guard by Premiere Products, Inc.

BE
Scar Material by W.M. Creations, Inc.: Removers
Ben Nye Mellow Yellow: Red neutralizer.
Acetone-based plastic material used to build It’s always a safe bet to buy the same

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things such as keloid scars and blisters. KRYOLAN Dermacolor Mini Palette: This remover and adhesive that belong together. REFERENCES
makeup covers well, has a large selection of Internet Resources

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Adklen Cleanser by RCMA: No travel-
Silicon Product in Bulk colors, and is easy for doing quick makeup www.dickblick.com
safety issues.
Smooth-On Inc.: Easton, Pennsylvania- or touch-ups on-set.
based manufacturer of Silicon Products. Beta Solv Remover: Works to remove Pax www.danielamakeup.com
IMAN: Excellent makeup line for a range of
Their website sells direct. Beta Bond by Tom Surprenant.
skin tones from light to dark, including www.indeutsch.com
Burman Industries: Carries a good yellow. Great pigment in their shadows, Ben Nye Bond Off: Removes spirit gum,
www.makeupartistschoice.com
inventory of silicone-related products. Based blushers and lipsticks. medical adhesive, and Pros-Aide.
in Van Nuys, California. www.makeupcreations.com
RCMA: Without question, a makeup Delasco Detachol: Removes Pros-Aide. Is
Tattoo Ink Type Products: All of the line we could not do without. Foundation mild and hypoallergenic. www.naimies.com
products mentioned are Industry Standards. colors come in every possible range for
Pax Remover by GM Foam: Removes Pax www.psdaimaandsons.com
It’s hard to remember what it was like any beauty or character makeup. One of the
Paint.
before these products existed. few makeup lines that understands skin www.sephora.com
tones. RJS Adhesive Remover: No travel-safety
Reel Creations Palettes by Reel Creations.
issues. www.solomakeup.com
Visiora: A sheer makeup that has a good
Reel Creations Liquids by Reel Creations.
coverage. Colors have been formulated to
Skin Illustrator Palettes by Premiere match our industry lights and different
Products, Inc.: Created by Kenny media. Visiora is also a wonderful makeup
Myers/CMI. to use on men.
 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
This page intentionally left blank 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: Tblau@reelcreations.com
Kryolan Corp. 818 346 7335
132 Ninth St.
San Francisco, CA 94103
Email: Info-usa@kryolan.com
www.kryolan.com
415 863 9684
 Silpak Alcone Company, Inc. (headquarters and Kryolan Australia Pty, Ltd. Silithane
10611 Burbank Blvd warehouse) 147 Little Collins St. 14855 Du Froment St.
North Hollywood, CA 91601 5–45 49th Ave. Melbourne, VIC 3000 Quebec, QC J7N 2J7
www.silpak.com Long Island City, NY 11101 Australia Canada
818 985 8850 718 361 8373 sales@kryolan.com.au Email: Silithane@supernet.ca
www.kryolan.com.au 514 8241 587
TriEss Manhattan Wardrobe Supply (some
+61 3 96544147
Burbank, CA makeup supplies; great bags and accessories) Takara PBG Group (highest-quality
www.tri-esssciences.com 245 West 29th Street, 8th floor JMB FX Studio handmade Japanese brushes)
818 848 7838 New York, NY 10001 Unit 3 13–15 Ereton Dr. 244 Elson St.
www.manhattanwardrobesupply.com Labrador, QLD 4215 Markham, ON L3S 3B9 Canada
Tinsley Transfers, Inc.
212 268 9993 Australia Email: Info@takaracanada.com
PO Box 10011
www.jmbfxstudio.com.au www.takaracanada.com
Burbank, CA 91510 Make-Up Designory (New York and
+61 (0) 7 5528 8500 905 472 6105
248 Email: info@tinsleytransfers.com Los Angeles school and store) 249
Jason@jmbfxstudio.com.au
www.tinsleytransfers.com 375 W. Broadway, #202
FRANCE
New York, NY 10012
W.M. Creation, Inc. CANADA Paris Berlin
www.mud.edu
5755 Tujunga Ave. Complections International 56 Boulevard Richard Lenoir

E FFE CTS
212 925 9250
North Hollywood, CA 91601 85 Saint Nicholas St. 75011 Paris
129 South San Femando Blvd
Email: Mmungle@nu-products.com Toronto, ON M4Y IW8 France

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Burbank, CA 91502
www.matthewwmungle.com/wmcreations Canada www.parisberlin.com
818 557 7619
1800 454 8339 info@complectionsmake-up.com info@parisberlin.com

LA BS ,
www.complectionsmake-up.com +33 (0) 1 433393590
Pennsylvania
Florida 416 968 6739
Smooth-On, Inc.
FX Warehouse, Inc. GERMANY
2000 Saint John St. 3D Plastics

T OOLS ,
1575 Aviation Ctr. Pkwy., Suite 414 Bela Kosmetik
Easton, PA 18042 12304 Garibaldi St.
Daytona Beach, FL 32114 Birnauerstrasse 12
www.smooth-on.com Maple Ridge, BC V2W 1N2
Email: order@fxwarehouse.info D-80809 Munchen
800 762 0744 Canada
www.fxwarehouse.info Germany
610 2525800 Email: 3Dplastics@intergate.ca
386 322 5272 www.bela-kosmetik.de
www.3dplastics.net

COS ME T ICS ,
AUSTRALIA 604 462 7755
+49 (0) 89 35652223
New York
Barnes Products Pty, Ltd. 604 465 6569 Kryolan GmbH
Alcone Company, Inc. (store location)
53 King Street Papierstr.10
322 West 49th St. R. Hiscott Beauty and Theatrical Supplies
Newton NSW 2042 13409 Berlin
New York, NY 10019 435 Yonge St.
Australia Germany
www.alconeco.com Toronto, ON M5B 1T3
www.barnes.com.au Email: Info@kryolan.de
212 757 3734 Canada
+61 (02) 9557 9056 www.kryolan.de
416 977 5247
sales@barnesonline.com.au +49 30 499 8920
 GREECE KOREA SWEDEN Creature Effects
Beautyworks Kryolan Korea Goteborgs Perukmakeri Unit 2, 549 Eskdale Rd.
Kolokotroni 8 1F, Sungdo Bldg. Stora Nygatan 11 Uxbridge Middlesex UB8 2RT
Kifitssia 336-1, Seogyo-Dong 5-411 08 Goteborg United Kingdom
Athens, 145 62 Seoul Sweden Email: Creatfx@dircon.co.uk
Greece Korea Email: Info@perukmakeri.se +44 (0) 1895 251107
+30 210 8089070 Email: Kryolan@kryolan.co.kr www.perukmakeri.se Mouldlife
www.kryolan.co.kr +46 (0)31 15 7881 Tollgate Workshop
HONG KONG +82 (0)2 3143 2732 Bury Road
Mapont & Co.
May’s Co./Gala Gold Ltd. Kentford
Odelbergs vag 9B
Unit G 19, Tung Ying Building MEXICO Suffolk
134 40 Gustavsberg
100, Nathan Rd. Kiehl’s Mexico City CB8, 7PY
Sweden
TST Kowloon Centro Comercial Perisur United Kingdom
250 Email: Info@Mapont.se 251
Hong Kong Periférico Sur #4690 Local 179 PB Email: Justin@mouldlife.co.uk
www.mapont.se
Email: galagold@netvigator.com Col Ampliacion Jardines del Pedregal www.mouldlife.co.uk
+46 (0)70 3523109
+852 2367 5332 Mexico City, DF +44 (0) 1638 750679
www.kiehls.com MB Sveda (glycerin and sorbitol)
IRELAND Screen Face

E FFE CTS
+52 55 5171 4505 20 Powis Terrace
Nue Blue TAIWAN
Westbourne Park Rd.

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7 South William Eriu St. NEW ZEALAND Kiehl’s Taipei Store Notting Hill, London W11 1JH
Dublin, 2 Gelita NZ Ltd. (gelatin and related No. 97 Fu Shin Road United Kingdom
Ireland

LA BS ,
products) 135-145 Connal Street Taipei, 105 Email: Info@screenface.co.uk
www.nueblueriu.com Christchurch 2 Taiwan www.screenface.com
dublin@nueblueriu.com New Zealand +88 6227125005 +44 (0)20 7221 8289
+353 (0)1 672 5776

T OOLS ,
www.gelita.com
UNITED KINGDOM The Makeup Shop
+64 3384 3093
ITALY www.themakeupshop.co.uk
Charles H. Fox Ltd.
Kiehl’s Milan Store ROMANIA 22 Tavistock St., Covent Garden
California
Corso Di Porta Ticinese, 40 Beauty Shop Bucuresti London WC2E 7PY
Cimuha, Inc.

COS ME T ICS ,
Milano, 20123 55-59 Calea Vitan United Kingdom
Erwin H. Kupitz Wig Maker
Italy Bucuresti Email: Makeup@charlesfox.co.uk
www.kiehls.com Romania www.charlesfox.co.uk Hair Goods by Teresa
+39 (0)2 832 41084 +40 21 327 7532 +44 (0)20 7240 3111 Teresa Valenzuela
7618 Woodman Ave., Unit 1
Panorama City, CA 91402
 WIGS E&G Hair Goods
Germany Gerhard A. Zeiss THE CREW
Fischbach-miller (wig-making supplies) Erwin H. Kupitz
Email: Info@fischbach-miller.de Cologne
www.fischbach-miller.de Germany
Email: gerdizwiss@aol.com (Gerhard)
WHO’S WHO Second Assistant Director (Second
Email: E&G@cimuha.com (Erwin)
Makeup Artists: (Definition 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
side burns, beards, false eyebrows and and Wardrobe, which relieves the First AD
252 253
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)

E FFE CTS
makeup whether made of rubber, plastic,
are parts of the Second AD’s duties.
or any other material.

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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

LA BS ,
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

T OOLS ,
• 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,

COS ME T ICS ,
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 filming 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 first AD is directly responsible to the assigned to them by the AD staff. A PA is the
Producer and “runs” the floor or set. lowest on the crew’s hierarchy in terms of
 salary and authority. They perform to Hair and Makeup, to Lights, or 7. “Action.” The Director says, “Action,” crew surport needed. Example: A character
various duties required by the ADs. The anything else. although a First AD might perform this that wears a particular shirt that (in different
subroles of Assistant Directors differ among function if the Director prefers it. Only scenes) progresses from clean to dirty to
3. “Quiet on the set.” The First AD calls
nations. For example, the distinction the Director is allowed to say, “Cut.” dirty and torn may require at least three
out, “Quiet on the set” to alert everyone
between Second Second and Third AD is sets of that shirt in order to ensure that
that the take is ready to be filmed. The Low-Budget First AD’s Eternal
more common in North America. British and continuity can be properly managed.
4. “Roll sound.” The First AD waits for Dilemma: On low-budget productions,
Australian productions, rather than having
complete quiet, then signals the the means are often not enough to realize During production, the Script Supervisor
a Second Second AD, will hire an additional
Production Sound Mixer to “Roll the Director’s vision. It is for the First AD acts as a central point for all production
Second AD to fulfill the same duties. In
sound,” after which the Mixer rolls his to work between the Director and heads of information on a film shoot, and has several
Britain and Australia, Third ADs have
sound gear, verifies its status, and department (HODs) to call the necessary responsibilities.
different duties from a Second Second AD,
replies, “Rolling” or “Speed.” compromises when they need to be made,
and the terms are not synonymous. Script: The working text of the project.
without jeopardizing the integrity of the
5a. “Roll camera.” The First AD then Director’s vision. This process can begin as The Script Supervisor is responsible for
254 signals the camera department to “Roll 255
early as the scriptwriting phase, with the AD ensuring that everyone involved has the most
TERMS camera.” The camera assistant starts the suggesting such practical compromises as current copy of the script. Once the script
Calling the Roll: One of the First AD’s camera, verifies its status by watching combining sets or reducing the number of is finalized, changes are made on a different

CREW
responsibilities is to “call the roll”—when all the timecode for three seconds, and story days. The process may progress through color of paper. The Script Supervisor is
of the relevant heads of department (HODs) replies, “Rolling” or “Speed.” to the actual shooting of a scene, at which given any changes, and ensures that they

T H E
and above-the-line people seem ready to time the AD may call for the Director and are printed on the correct color paper and
5b. “Lock it down.” Sometimes the First
perform, the First AD initiates the take. Over DP to refine the blocking of a scene in such distributed to all necessary parties. This will
AD will also call out, “Lock it down” to
the years, special procedures have been a way that it can be adequately shot within on many productions lead to a multicolor
ensure that all objects on the set are
developed for this task in order to achieve the time available. This can be the most working script. The actual progression of
“locked down” and will not drop during
maximum efficiency during shooting, which indirectly creative an AD gets, and may gain colors can vary. One such progression is
the take. At this point, everyone must
is usually some variant on the following great understanding of the conflict between (starting with the original script) white, blue,
be totally quiet and move out of frame.
dialogue: resources and vision. This can prove a useful pink, yellow, green, goldenrod, buff, salmon,
This can also called when the camera is
1. “Waiting on . . .” First ADs are locked down. In some filming situations skill to ADs who move on to Produce. cherry, tan, gray, and ivory.
constantly calling out which department the camera body needs to be “locked
Script Supervisor, or Continuity: A Script Continuity: The Script Supervisor takes
is responsible for any delays. If the down,” not touched and no movement
Supervisor, or Continuity, is a member of notes on all the details required to re-create
lights need to be adjusted, the First AD around the camera because the focus is
a film crew responsible for maintaining the the continuity of a particular scene, location,
calls out, “Waiting on Gaffers.” If the critical or the stunt is dangerous so the
film’s internal continuity and for marking the or action. The Supervisor is responsible
actors are still in their trailer, the First camera is unmanned.
Production unit’s daily progress in shooting for making sure that continuity errors do
AD calls out, “Waiting on Talent.” If a 6. “Marker.” The First AD signals the film’s screenplay. In preproduction, not happen. For every take, the Script
mascara smear needs attention, the First the Clapper Loader, or Assistant the Script Supervisor creates a number of Supervisor will note the duration of the take
AD calls out, “Waiting on Makeup.” Camera (Second AC), by saying, reports based on the script, including a (usually with a stopwatch), and meticulously
2. “Last looks, please.” Once everyone is “Marker” or “Slate it.” The Second AC one-line continuity synopsis providing basic log off information about the action of
in place, and rehearsals and blocking marks the shot by clapping the clapper continuity information on each scene. These the take—including position of the main
have finished, the First AD calls out, board, or slate, and announces the reports are used by all departments in order actor(s), screen direction of their movement,
“Last looks.” This allows for last-minute scene for editing purposes (“Scene 67, to determine the most advantageous shot important actions performed during the shot,
finishing touches—whether to the Set, Take 4”). order and quantities of supplies, materials or type of lens used, and additional information
 that may vary from case to indicating which takes cover which parts of
case. When multiple cameras are in use, the the script. G L O S S A RY
Script Supervisor keeps separate notes on
each. The Script Supervisor will also keep Production Reports: The Script Supervisor
track of dialogue as it is spoken, and ensure is responsible for preparing daily reports for
that if it varies from the screenplay, any the Production team. These reports vary in ANATOMY spinal cord. The spinal cord is strong and
variation made is known to the Director and form depending on the studio or production Studies in anatomy are a complex field, but flexible, allowing movement, supporting the
noted. company; however, they generally include a we’ll concentrate on the areas Makeup head, and serving as the attachment for the
continuity log; a log of the actual times that Artists most likely will use as reference. The ribs and muscles.
Slating: The Script Supervisor interacts with
shooting and breaks started and stopped; following terms outline only a few of the
the Second Assistant Camera (Second AC, or
and a breakdown of the pages, scenes, and examples found in the skeletal, muscular UPPER BODY
Clapper Loader) and the Production Sound
minutes that were shot that day—as well as and circulatory systems.
Mixer to make sure that each take of exposed Carpal Bones: Wrist bones.
the same information for the previous day,
film has a consistent and meaningful slate,
256 the total script, and the amounts remaining The Skeletal System: The skeleton is Clavicle: Collarbone. 257
that the sound and picture slates match. The
to be done. Also included are the number divided into two different areas. The axial
Script Supervisor also notes the sound roll Humerus: Upper arm bone.
of scenes covered (completely shot), the makes up the skull, vertebral column,
of each sync take, and the state of all MOS

CREW
number of retakes (when a scene has to sternum, and ribs. The appendicular Metacarpals: Hand bones.
takes (a film take without sound recording:
be reshot), and the number of wild tracks skeleton is made up of the upper and lower
Metz out sound). Phalanges: Finger bones.

T H E
(tracks with sound recorded separately). The extremities. The skull is divided into cranial
Lined Script: The Script Supervisor is AD staff also is responsible for preparing bones. These bones form the cranial cavity. Radius: One of two lower arm bones. The
responsible for keeping the most current daily productions reports regarding The cranial cavity houses the brain and radius is narrow at the end that connects
version of the shooting script, and for scheduling and the crew, noting delays in facial bones, which in turn form the face. with the humerus, and wider at the joints it
keeping a copy of it as the lined script for the filming, scenes shot, and payroll (call times forms with the wrist bones.
shoot. A lined script is a copy of the script and out times), as well as accident reports, THE SKULL
Ribs: Curved bones connected to the
with vertical lines drawn down the pages, and actors times. Frontal Bone: Bone located at the forehead
thoracic vertebrae.
that helps define 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 defines the in the body.
cheekbone.
Fibula: One of two bones that form the
The Spinal Column: The spinal column is lower leg bone. The fibula is smaller of the
made up of 26 bones. The bones protect the two.
 Joints: When two or more bones come Risorius: Pulls the corner of the mouth ARTERIES Splenic Vein: Vein leaving the spleen.
together to either aid movement and/or to sideward and outward. Aorta: Largest artery in the body. Subclavian: Empties blood from the
keep the skeleton together.
Triangularis: Pulls the corner of the mouth Brachiocephalic Trunk, Right shoulder area.
Metatarsals: Foot bones. downward. Carotid, and Right Subclavian Arteries: Superior Mesenteric: Blood returns to
Patella: Kneecap Zygomaticus Major and Minor: Raises the Provide blood to the neck, head, and upper circulation by way of the small intestine.
mouth upward and outward. limbs.
Pelvic Bone: Attaches the lower body to the Superior Vena Cava: Receives blood from the
axial skeleton. Celiac Trunk, Superior Mesenteric upper body by way of the internal jugular,
EYE MUSCLES
Artery, and Inferior Mesenteric Artery: subclavian, and brachiocephalic veins.
Phalanges: Toes. Corrugator: Assists the orbicularis in Supply blood to the abdominal internal
compressing skin between the eyebrows. organs.
Tarsals: Anklebones. ADDITIONAL TERMS
Vertical wrinkles form.
Tibia: One of two bones that form the Coronary Arteries: Supply blood to the AD: Assistant Director
Orbicularis Oculi: Closes the eyelids and heart.
258 lower leg bone. The tibia is the larger of the 259
compresses the opening of the eye from Adding color: Mixing pigments to a
two. Left and Right Common Iliac Arteries:
above and below the eyes. product.
The Muscular System: Muscles are Abdominal aorta divides into left and right
Procerus: Tightens the inner eye by Additive Color: adding primary Colors to
described by size, shape, origin, and common Iliac arteries.
wrinkling the skin on the nose. come to white light.
function. There are over 700 known Left Carotid, Left Subclavian Arteries:

G LOS S A RY
muscles in the body. Additive Color Mixing: Color mixing
FACE MUSCLES Provide blood to the left side of the head,
with lights.
neck, and upper limbs.
FACIAL MUSCLES Frontalis Frontal Part: Draws the scalp to
Airbrush: A small air operated tool that
the front, wrinkles the forehead, and pulls Renal, Suprarenal, and Gonadal Arteries:
JAW MUSCLES sprays various media.
the eyebrows upward. Provide blood to internal organs at the back
Masseter Muscle: Raises the jaw and
of the abdominal wall. Air Regulator: To adjust the air pressure.
clenches the teeth. Platysma: Muscles on the neck that
draw the lower lip downward and THE VEINS Alginates: Seaweed based products used
Temporalis Muscle: Helps the masseter
upward. to take an impression of an object or
muscle to raise the jaw and clench the Brachiocephalic: One of two veins that
person.
teeth. form the superior vena cava.
MUSCLES OF THE BACK
AND ABDOMEN Analogous: Colors next to each other on
Hepatic Portal Vein: Vein that leads from
MOUTH MUSCLES the color wheel.
Circulatory System and Veins: The intestinal veins to the liver.
Buccinator: Draws the corners of the
circulatory system is made up of two Background: Background artists (actors)
mouth backward, flattens and tightens Inferior Vena Cava: Receives blood from
different systems: the pulmonary (the right or extras working in a scene.
lips. the pelvis, abdomen, and lower limbs.
side of the heart receives deoxygenated
Black: Absence of all colors.
Caninus: Raises the corner of the mouth. blood from the body and pumps it to the Internal Jugular: Receives blood from the
lungs) and the systemic (the left side of the head and neck area, including the brain. Blank Out: To start with a blank
Mentalis: Raises and tightens the chin,
heart receives oxygenated blood from the canvas.
thrusts lower lip up and outward. Portal System: A set of veins that deplete
lungs and sends it to the body; arteries carry
blood from the intestines and the Blending: applying Makeup using tools to
Orbicularis Oris: Circles the mouth and blood from the heart to the tissues and
supporting organs. achieve a smooth seamless finish.
purses the lips. organs; veins return the blood to the heart).
Bloom: The strength or rigidity of the Correction Filters: To Balance a given Gaffer: Lighting Designer Monochromatic: Any color mixed with
brand of Gelatin. light source. white.
Gel Filters: Filters are used in front of a
Bondo: Cobosil that is mixed with Pros- Crew Call: Time the crew is called into light source to change what the light is Oil Filter: Removing oil from air.
Aide to form a thick paste. work. putting out.
Opaque: Dense like a rock.
Brightness: Percentage of Transmission of Cure: Chemical reaction between two Gelatin: A colorless protein formed by
On The Clock: Official time of payment.
the full spectrum of energy. ingredients when done Dark and boiling the skin, bones, and connective
Halftones: Halftones divided into light tissue of animals used by Makeup artists Primary Color: Three Primary colors that
Bull Pen: Working the Line with many
and dark. for a variety of reasons such as Casting in can be mixed together to make all other
other Makeup artists painting for the
a mold. colors.
crowds with little time to do it. De-mold: Taking the product out of the
mold. Green Marble: A Makeup sealer. Pros-Aide: A prosthetic adhesive.
Cast: Actors appearing in the scenes.
Digital Cinematography: When film is Half tones: All of the Value variations PSI: Measurement of air pressure, pounds
Casting: A product that is used in a mold. being substituted for Digital. per inch. 261
High-Definition Television or HDTV:
Center of Gravity: The point of the body Digital Motion Pictures: Images that are Television broadcast using higher Purity: The Purity of color is similar to
that dictates where the weight is captured on digital Formats. In this case resolution formats. chroma.
distributed. Motion Pictures
Highlight: Lighter Colors that are applied Rays: Ultra Violet Rays of UV.
CFM: Measurement of airflow. Digital Photography: Images that are to any area the Makeup artist wants to
RCW Color Wheel: Don Jusko Color
Characters: Names of the characters the captured with electronic devices that stand out.
wheel is one in which every color has an
actors will be playing. record the images.
Holding and Catering: Where the extras opposite color to be mixing neutral darks.
Chavant NSP Clay: Sculpting clay. Digital Television: Pictures and sound are are being held and where the food is.
Reflected Light: light source that bounces
received by digital signals.
Chiaroscuro: An Italian term meaning Hue: Any Color off the surrounding environment.
light Dark. The term Originated as a type D/N: Means Day or Night on a call sheet.
Imaginary axis: An imaginary axis used by Releases: Products that help to release a
of Renaissance drawing on colored paper. Dominate Wavelength: Apparent Color of artists to determine where the weight of product from a mold.
the Light the body changes.
Chief Makeup Artist: What a Department Removers: Products that come in many
head is called in Europe. Dot Method: placing dots instead of Licensed Aestheticians: Someone learned different formulas used to remove
straight lines in Makeup application. For in the study of Skin Care. adhesives, eye Makeup, or a variety of
Closed set: Means there are no visters.
example to create a stronger lash line. Makeup applications.
Makeup Department Head: In charge
Complementary: Any colors 180 degrees
DP: Director of Photography of designing and running the SC: Scene numbers in the script.
apart on a 360 degree wheel.
department.
Dual Tone: A pigment that changes hue Secondary Colors: Colors made by mixing
Complementary Colors for Light:
from mass tone to top tone. Mass Tone: Color right out of the tube or together two primary colors.
Complementary Colors are also called
pure powder pigment.
secondary Colors. Extra: Back ground actor or Back ground Secondary Colors in Light: Combination
artist. Mattifying Products: Products that are of two primary Colors.
Contour: Darker Colors that are applied to
made to take down shine.
any area the Makeup Artist wants to set Foundation Primers: Even out the texture Set Call: The time stand in’s and
back. of the skin. Moisture Filter: Removing water from air. background actors report to the set.
 Shadow: When a form turns away from Transparent: Dye that are clear.
the light source, half tones become darker P R O F E S S I O N A L L I B R A RY
Triadic: Any three colors that are 120
until the light completely goes away.
degrees apart on the wheel.
SPF: Sun Protection Factor.
Undertone: Adding clear media.
Spot Paint: Technique to balance out the
UVA Rays: Penetrates the surface of RECOMMENDED BOOKS AND Milady’s Skin Care and Cosmetics Ingredients
skin tone.
the skin and damages the connective TRADE JOURNALS Dictionary, by Natalia Michalun and M.
Stippling: To use an up and downward tissue. Varinia Michalun
Books
motion while applying makeup with a Milady’s Standard: Fundamentals for
UVB Rays: Causes damage to the surface Art of Makeup, The, by Kevyn Aucoin
brush, sponge, or textured sponge. Estheticians, by Joel Gerson, Shelley Lotz
of the skin such as burning. Atlas of Clinical Dermatology, by Anthony du
Stipple sponges: Textured sponges used Vivier and Janet D’Angelo
Vertical axes: The centerline that correctly Skin Care Beyond the Basics, by Mark Lees
for different stippling effects. Atlas of Clinical Gross Anatomy, by Kenneth P.
defines proportions of the facial features Vintage Face, by Angela Bjork and Daniela
262 Moses, John C. Banks, Pedro B. Nava, and 263
Superior Mesenteric: Blood returns to when the head is moved in different Turudich
Darrell Peterson
circulation by way of the small intestine. angles.
Atlas of Pathophysiology, by Lippincott
Magazines
Swinging: caused by the center of gravity Value: Means Tonal Value for an Williams and Wilkins
Make-Up Artist Magazine, www.makeupmag.
being shifted from one leg to another. object Beauty of Color, The, by Iman
com

G LOS S A RY
Bloom Book, by Li Edelkoort and Lisa
Textures: the surface properties of a color. White: The presence of all colors in the Make-Up Artist International, www.
White
light. makeupinternational.eu
Thinners: Thinners are products made to Body Painting: Masterpieces, by Joanne Gair
thin adhesive products. Working out of your Kit: term used and Heidi Klum Web Sites
by Makeup artists to describe what Brown Skin, by Susan C. Taylor www.airbrushmakeup.com
Tints: Adding white to any hue.
products will be used from their own Clinical Dermatology, by Thomas P. Habif www.anatomical.com
Top Tone: adding white to a color. Makeup Kit. Color Atlas of Forensic Pathology, by Jay Dix www.badgerairbrush.com
Costuming for Film: The Art and The Craft, by www.beautyhabit.com
Translucent: Milk is translucent. Milk can Wrap: Term called by the Assistant
Holly Cole and Kristin Burke www.benefitcosmetics.com
never be transparent by adding a clear director at the completion of the days
Crew Freelancing 101: A Guide to Building a www.bennye.com
medium. filming.
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
 www.dickblick.com www.mallatts.com (products)
www.dow.com (product information) www.marshallelectronics.com THE PROS
www.eefx.com www.mehron.com
www.eeyelash.com www.monstermakers.com
www.flaxart.com www.occmakeup.com
DARLA ALBRIGHT RICHARD DEAN
www.folica.com (brushes, tools, etc.) www.oshunsupply.com (oils, chemicals,
www.fxwarehouse.com (products) clays, salts, botanicals, etc.) Emmy Award winner and Makeup Artist Richard Dean has painted some of the most
www.gerdaspillmann.com www.paascheairbrush.com Darla Albright has worked on numerous TV, unforgettable faces in the world—including
www.getspfx.com (adhesive information) www.paintandpowderstore.com film, and music industry events. Her credits Nicole Kidman, Uma Thurman, Madonna,
www.hollynorth.com www.pauladorf.com include the Academy and Emmy Awards, Eva Mendes, Amber Valletta, Demi Moore,
www.imancosmetics.com www.paulwheelerbsc.com (HD cameras, department heading, and working on the hit Glenn Close, Diane Lane, Tom Cruise,
www.imdb.com (professional film site for crews, technical information) TV series Scrubs, Justice, That ’70s Show, Michael Douglas, and Bruce Willis. Richard
production information, résumés) www.ppi.cc General Hospital, Ghost Whisperer, and has collaborated with Julia Roberts on 16
264 www.immune.com (chemical reaction www.psdaimaandsons.com (brushes) The Riches. Her film work includes The movies—from Sleeping With the Enemy and 265
information) www.realcolorwheel.com Good Girl, starring Jake Gyllenhaal; Dr. My Best Friend’s Wedding through Erin
www.indeutsch.com (brushes) www.rickysnyc.com (beauty supply, Dolittle 2; and working with Tyra Banks Brockovich, Closer, and, most recently, Charlie
www.joeblasco.com NYC) on Coyote Ugly. Darla has also toured the Wilson’s War. Richard’s first movie
www.kanebo.com www.ronjo.com (products) world with her personal client Neil Diamond experience was on the tiny independent film

LIBRA RY
www.kd151.com (blood products, effects) www.screamteam.com (masks) for all of his stage, TV, and personal Union City, starring Deborah Harry.
www.kettcosmetics.com www.screenface.com appearances. Currently, Darla is also Currently, he is shooting Baby Mama with
www.kiehls.com www.sculpt.com working as a collaborator for Air Craft with Tina Fey in New York. With a master’s
www.lancome-usa.com www.sephora.com Kris Evans. degree from the University of Michigan
www.lauramercier.com www.shopofhorrors.com (effects) focused on theatrical design, Richard began
CRISTINA PATTERSON CERET doing makeup in the fashion and print arena

P ROFE S S ION A L
www.loraccosmetics.com www.smooth-on.com
www.maccosmetics.com www.solomakeup.com (brushes) Born in Madrid, Spain, Cristina Patterson before moving on to television, then 50-
www.makeupartistschoice.com (brushes) www.temptu.com Ceret came to Los Angeles at the age of 1. some features—among them Desperately
www.makeupcreations.com (brushes) www.vwr.com (international chemical Cristina was introduced to the film industry Seeking Susan, The Cotton Club, Something
www.makeupforever.com supplies) by her mother, Raffaelle Butler, a Hollywood Wild, Fatal Attraction, Mona Lisa Smile, and
www.makeupmania.com www.worldwidebeautystore.com 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 film 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 fine arts. for his efforts. Who knew that would lead to
She is always working to find new ways to an exciting career working extensively as one
paint contact lenses. of the top Makeup Artists in the motion
 picture industry today? Kenny has two had already started to work with established Academy College of Fine Arts in Old Lyme, Geller Associates, and Tom Watson
Academy Award nominations and is a two- Makeup Artists and Hairstylists. Daniela’s Connecticut, he lectures and teaches at The Associates) at opera companies across the
time Emmy Award winner. He is Founder of work has been featured by such publications Art Student League and the National nation, including the Greater Miami Opera,
K.D. 151 Blood Products, which is an as Make-Up Artist Magazine. Academy School in New York City. Dan has Opera Co. of Philadelphia, and Opera
Industry Standard. Kenny had a special been featured in numerous national and Theatre of St. Louis, among many others. He
interest in pyrotechnics after watching a KRIS EVANS international publications, including also began building his own wig stock and
television special on the subject. He inquired For over 20 years, Kris Evans has created American Artist, Drawing, and Drawing client list, which included Chicago Opera
about pyrotechnics classes at schools located unique makeup designs in the world of Highlights. Dan Gheno studied at Santa Theatre. In 1994, a staff position in the
in the Los Angeles area. He enrolled in a entertainment. Kris has worked on Barbara Art Institute, Art Students League, Makeup Department at the Metropolitan
makeup school, finding no other avenues everything from Saturday Night Live to large and National Academy of Design. His work Opera was offered. He continues to do wig
that could help him. This included classes in production films, creating characters in such is featured in exhibits nationally and in the rentals and wig building, most notably for
Salon Makeup! By the end of the one-year movies as X-Men: The Last Stand and National collections of several museums. Studio EIS, a company in Brooklyn which
course, Kenny knew he would become a Treasure. She has also used her skills on fabricates realistic human figures to
266 Makeup Artist for the entertainment museums across the U.S., including the 267
Broadway in The Phantom of the Opera. Kris is
industry. He continued his career working STEVEN HORAK recent, extensive exhibit illustrating the life
used to traveling worldwide in the NBC
for student and independent films such as Olympic broadcast team or for couture Steven Horak graduated with degrees in of George Washington at Mount Vernon,

P RO S
Roar, starring Tippi Hedren and her daughter runway shows and fashion shoots. Evans is Vocal Performance from Washington State Virginia. He also takes one summer opera
Melanie Griffith. After the film completed, Founder of Air Craft Cosmetics with partner University and the Cincinnati College- job in the NYC area each year, where he

T H E
Diaz became an instructor, developing the Darla Albright. Conservatory of Music, intending a career as hones his skills at cranking out full makeups,
skills and confidence that have contributed an opera singer, but always having an including wig application, in 10 to 15
to his success today. KIM FELIX-BURKE interest in and an affinity for the field of minutes, recalling his early days “on the line”
theatrical makeup and wigs. Steven began at SFO.
Kim Felix-Burke grew up in the film
singing for Detroit’s Michigan Opera Theatre
DANIELA ESCHBACHER business. She wanted to be a fashion
in the old-man roles often assigned to young
Daniela Eschbacher is one of today’s newest illustrator but her stepfather, Ed Levy, a DON JUSKO
bass-baritones, “doing my own makeup in all
Makeup Artists. She lives in Paris, and works successful film producer, suggested that Kim
cases, as no real makeup department Don Jusko was an artist before art college.
for international magazines and commercials try makeup instead, reasoning that “Painting
existed.” Observing that he appeared to have After college in 1962, during the Cuban
in places such as Switzerland, Germany, a face is just another form of a canvas.” This
some talent in this area, the company offered Crisis, Don was a part of Naval Photo
Sweden, Holland, England, Austria, and sent Kim off to basic training at the Joe
to pay a large portion of his tuition to the Squadron VFP-62, based in Jacksonville,
Japan. She started out assisting various artists Blasco School in Los Angeles. Kim was
San Francisco Opera Wig and Makeup Florida. After four years in the navy, he
before branching out on her own projects fortunate to continue her education in
Training Program, on the condition that he worked as the Art Director for an advertising
with Photographers, Stylists, and makeup by working for some of the great
return to MOT and establish a department agency in Jacksonville. He then opened his
independent movies. Daniela has always “old timers” in Hollywood. Twenty years
for them. After receiving his certificate from own agency in San Francisco. For the past 30
been fascinated by photography, fashion, later she still loves “slinging dirt” and
the program, which was led by SFO’s years, he has been painting Maui scenes on
and the creation of illusion. After graduating “primping pretty faces.” Kim lives in the Los
Wigmaster, Richard Stead, he fulfilled my location, capturing the island’s history. Don’s
from Economy High School, she went to Angeles area with her family.
commitment to MOT and returned to Detroit work continues to be admired by all. While
Vienna to become learned in Hairdressing to accept the staff position, which he held for painting on location with his own choice of
and acquire a degree. At the age of 20, DAN GHENO
12 seasons. During the off-season, he transparent primary pigments, the Real Color
Daniela moved to Paris and attended an Dan Gheno teaches and lives in New York represented several wig and makeup Wheel was born. By 1996, a printed copy
international artist’s school. By this time, she City. Professor Emeritus at the Lyme companies (Theatrical Hairgoods Co., Bruce was being sold on the internet. Today, his
 color site garners 1.7 million hits a month, Festival in Austria. From the onset of his Brad now lives in Southern California, where accolades and recognition as one of the
with free printable downloads of his color professional work in the United States in he works in the entertainment industry. industry’s top masters of makeup illusion.
wheel. This color wheel has given artists the 1992 to the present, Erwin has had a prolific Besides teaching The Art of Film and Born in Durant, Oklahoma in 1956, Matthew
ability to paint natural-looking dark shadow career that has encompassed the following: Television Makeup at national and was one of five children. As a boy, he was
colors by mixing real color oppositions 59 major motion pictures (including international universities, Brad has worked fascinated by makeup. Matthew credits the
together and not using black pigment. Academy Award–winning films Forrest on productions such as Pirates of the film 7 Faces of Dr. Lao as a factor in him
Gump, Titanic, and Dreamgirls), 22 television Caribbean: At World’s End, The Santa Claus 3: deciding to become a Makeup
shows, and eight stage productions. Erwin The Escape Clause, Boston Legal, Poseidon, Star Effects Artist. In 1978, Matthew applied to
ERWIN H. KUPITZ received Emmy nominations in 1994–95 for Trek: Deep Space Nine, Star Trek: Voyager, and was accepted into Joe Blasco’s Makeup
Erwin Kupitz is a professional Hairstylist, Outstanding Achievement in Hairstyles for a and Star Trek—just to name a few. Center, the premier academy responsible for
Wig Maker, and Makeup Artist, with more Mini Series (In Search of Dr. Seuss, TNT), and training many of the film and television
than 25 years of experience in the fields of in 1998–99 for Outstanding Achievement in GIL MOSKO industries’ elite Makeup Artists. Matthew’s
opera, theater, film, media, and Makeup for a Television Series (Buffy The impressive list of film, television, and theater
Gil Mosko, President of GM Foam, Inc.,
268 management. He has been the owner of the Vampire Slayer, FOX TV). The list of credits include the box office hits The 269
created GM Foam in 1987 to meet the needs
wig-making business Custom Made Hair accomplished actors that Erwin has worked Perfect Storm, Bedazzled, The Polar Express,
of the Makeup Artist for a more-user-friendly
Goods for the past 12 years. Erwin is the with include Academy Award winners, The Omen, X-Men, The X Files, CSI: Miami,
foam latex. Gil Mosko has numerous awards,

P RO S
President and Founder of Cimuha, Inc., screen legends, and contemporaries such as Six Feet Under, The Fast and the Furious, and
including 10 Emmy nominations, and five
which has been in operation for the past Jack Nicholson, Shirley MacLaine, Warren the Broadway hit Wicked—just to name a
Emmy Awards for Outstanding Achievement

T H E
three years. He is also the Designer of Hair Beatty, Sir Anthony Hopkins, Angelina Jolie, few. Matthew, Founder of W.M. Creations,
in Makeup for a Series. He was also Director
Replacement, EHK, for the hair-replacement Anthony Quinn, Diane Lane, Michael Caine, Inc. along with John E. Jackson, has
of the Star Trek Makeup Lab. Mosko has
company J.A. Alternatives, Inc., located in Patrick Stewart, Gene Hackman, Diahann developed products for the Makeup Artist
developed foam latex, which has become the
New York and New Jersey. Erwin completed Carroll, Edward Norton, Plácido Domingo, that no one should be without. Matthew
standard of the industry. He started his
his education and corresponding Jane Seymour, Hugh Jackman, Andy Garcia, wanted to give the working Makeup Artist a
career with a major in Environmental
apprenticeships in Germany. In addition, he James Woods . . . and the list goes on and chance to create and buy products he would
Biology and a minor in Chemistry at the
has expanded his professional training by on. Erwin’s body of work reflects use himself. Matthew continues to educate
University of Colorado. From there, he
attending workshops and seminars at various his flexibility to traverse the diverse media of and influence new Makeup Artists today
worked at Mattel Toymakers for two years as
institutions in the following fields: Special the performing arts with a degree of worldwide.
a designer in the Preliminary Design
Effects Makeup, Hair Coloring, and Modern technical expertise and professional
Department. For the next 15 years, Gil
Hair Cutting techniques. Erwin’s professional experience that future Makeup Artists and
owned and operated Gil Mosko Pottery and KENNY MYERS
affiliations include membership in the Hairstylists can respect and aspire to in their
worked as Director at R&D Nearly Me Corp.,
Chamber of Handcrafts, Germany, and the own careers. Nominated twice for Emmy Awards and
holding patents for revolutionary designs for
IATSE Local Makeup Artists of Hollywood. Department Head on the Academy Award–
prostheses for mastectomy patients.
Erwin embarked on his career in Europe, nominated picture Star Trek VI: The
and from 1982 to 1992 held the positions of BRADLEY M. LOOK Undiscovered Country, Kenny Myers has
Makeup Artist, Principal Makeup Artist, Emmy-winning for Star Trek: Voyager MATTHEW MUNGLE mastered many projects and has had many
Wigmaster, Vice Department Head, and (“Threshold” episode) and eight times Academy Award and Emmy Award winner successes over the years. Kenny graduated
Department Head in performing-arts nominated, Makeup Artist Bradley Look has Matthew W. Mungle is regarded as one of from William Paterson College in 1976 with
productions ranging from the Bavarian State written numerous articles on makeup, Hollywood’s premier Makeup Special Effects a master’s degree in Communication Arts-
Opera and Theatre in Munich, Germany, and including co-writing the book Star Trek Artists. With over 100 film and television Theatrical Design. In 1976, Kenny moved to
the Royal Opera in Belgium to the Salzburg Aliens & Artifacts. Born in Peoria, Illinois, projects to his credit, Matthew has earned Los Angeles and began to work as an
 apprentice to Chris Walas. During the past feature films, TV specials, national and Mellon University, a fellow of the United PAUL WHEELER
20 years, Kenny has been involved with regional commercials, music videos, and star States Institute of Theater Technology, and Renowned Cinematographer, Director of
many pictures, including: The Prestige, X- still-photo shoots. Her Makeup Artist career an associate member of the American Society Photography, and writer are only just the
Men: The Last Stand, War of the Worlds, followed her earlier career as a film and of Cinematographers. Tawil has authored a start of a list of titles that outline Paul
Collateral, The Last Samurai, Home Alone, Star television actress. dozen articles on lighting that have been Wheeler’s career. He was twice nominated by
Trek, Back to the Future Part III, The Return of published in industry trade journals. He BAFTA for a Best Cinematography Award,
the Living Dead, and Austin Powers: The Spy CHRISTIEN TINSLEY often guest lectures at universities on the and has twice been the winner of the Indie
Who Shagged Me. In 1999, Kenny, in subject of color, and is a frequent speaker for Award for Best Digital Cinematography. Paul
Christien Tinsley is an Academy Award–
conjunction with his company Cine Makeup, the International Photographers Guild about is the author of several popular books on
nominated Makeup Artist who grew up in
Inc., created an effects makeup line of highly color measurement. Tawil holds more than cinematography. He also lectures at
Auburn, Washington. At the age of 21,
pigmented flesh tone inks called Skin a dozen patents in the lighting field, and establishments such as The London
Tinsley moved to Los Angeles after receiving
Illustrator. Shortly after, Kenny teamed with has created many special-effects and International Film School and the Royal
his first job as an Effects Artist. Working at
industry manufacturer Premiere Products, projection devices (including the patented College of the Arts. He is a member of the
Steve Johnson’s FX Shop, Christien
270 Inc., and is continually expanding the Film/FX and SX4 film loop) that have 271
developed a range of materials and was soon Guild of British Camera Technicians, a
product line. Kenny was truly honored when become standard production tools for the Fellow of the British Kinematograph, Sound
overseeing and supervising effects for several
asked to become a member of the Academy entertainment industry. They include the and Television Society, and a Member of the
films. Tinsley’s first union job was applying

P RO S
of Motion Picture Arts and Sciences. first deep-dyed polyester color filter, the first British Society of Cinematographers.
prosthetics to Clint Howard in How the
off-the-shelf stainless-steel pattern, and Black
Grinch Stole Christmas. Tinsley continued on

T H E
Wrap, the original, for which he received an
DINA OUSLEY to his next film, Pearl Harbor, which
Academy of Television Arts & Sciences
ultimately launched his signature product, PATTY YORK
Over the past 15 years, Dina Ousley, Award.
Tinsley Transfers. Christien developed
President and Founder of Dinair Airbrush Patty York wanted to be involved in movie
“prosthetic transfers” when creating the
Makeup Systems, Inc., has guided and making since she was a little girl. Being a big
look for Jesus in The Passion of the Christ. NANCY TOZIER
directed the development of a sprayable dreamer, movies activated her imagination;
Today, Tinsley Transfers, Inc. has emerged
glamour makeup and glamour makeup Nancy-Tozier went to Salem State University, she was a natural at creatively expressing
into a leading provider of tattoos and
application system. Of even more majoring in Psychology. She attended herself. Patty worked as a commercial artist
prosthetic transfers effects for some of
significance, during that time, she pioneered cosmetology school in Massachusetts. In the in her early years, moving to New York City
Hollywood’s biggest stars, including Brad
“the new art of airbrush makeup.” The 1980s, she owned her own spa and managed working with fashion designers, all the while
Pitt, George Clooney, Vin Diesel, and Justin
artistic makeup techniques she has another spa with 22 styling chairs, heading stimulating her lifelong obsession with the
Timberlake. Tinsley accredits his influences
developed go far beyond the boundaries of the Makeup and Skin Care Department. beauty industry. A need to generate more
to such individuals as Rick Baker, Greg
traditional application, and more fluently Nancy graduated from the Catherine Hinds income in New York City sent Patty back to
Cannom, Steve Johnson, Rob Bottin, and
and vividly express the Makeup Artist vision. Institute in Woburn, Massachusetts, in 1989, school to earn a degree in business. Patty
Dick Smith.
The new art of micropointillism makeup is a valedictorian and winner of the Marietta became a “suit.” The stagnation was killing
futuristic version of pointillism where one Hinds Award. She has studied the art of skin her spirit and she craved and missed being
dot of color at a time is applied to depict JOSEPH N. TAWIL creative; she woke up one day to realize this
tones, color theory, and skin care with
images. The 15-year proving ground of the Joseph N. Tawil is Founder and President of mentors such as Glen Lockhart of Bion was not her! Time to put her brush strokes
makeup and techniques have occured during GAM Products, Inc., the Los Angeles–based Research Skin Care, James Vincent, and to a living breathing canvas. She apprenticed
her work as a Hollywood Makeup Artist. theatrical lighting and special-effects Nancy Feliciano. Tozier is a respected with several professional makeup artists in
Over the past 20 years she has worked on company. He is a graduate of Carnegie educator and innovator. New York City, learning everything she
 could from them. She worked as a Print techniques and set protocol. Today, Patty
Makeup Artist before moving to Hollywood still lives in Los Angeles, and enjoys a UNIONS
to pursue her dream. With additional successful career as a Makeup Department
training in the film industry to fine tune her Head and Personal Makeup Artist to the
instincts as an artist, she learned film stars!
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: info@ialocal706.org
Web site: www.local706.org
The IATSE is the labor union
representing technicians, artisans and LOCAL 798: Make-Up Artists and Hair
272 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

P RO S
shows. Tel: 212-627-0660

T H E
 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), definition 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
This page intentionally left blank 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
definition, 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, definition, 185 brush, 241
Allergy, 25 types and functions, 80
Analogous colors, definition, 39 Boar bristle, 241
 Body makeup color theory, 89 Diamond face, 11 Face Chart, 116–117
airbrushing types and functions, 75, 77, 90 Diaz, Kenny, 263–264 Face shapes
applying, 175–176 Conjunctivitis, 27 Digital video diamond face, 11
cleaning of airbrush, 176 Contact lens motion pictures, 61 heart face, 11
preparation, 173–175 costs, 127 resolution, 61 oval face, 11
removal, 176 examples, 125–126 television, 61 round face, 11
supplies, 174 fitting, 126–128 Disinfection, workstation, 88, 108 square face, 11
testing, 174 irritants, 126–127 Dominant wavelength (DWL), 48 Face triangle, 5
touch-ups, 176 ordering, 126 Double fog filter, 54 Facial expression
overview, 101–102 scleral lenses, 127 Drawing anger, 23
Body soft versus rigid, 127 body in motion disgust, 23–24
center of gravity, 7–8 timing of placement, 127 angles, 8 enjoyment, 23
drawing in motion Continuity line of action, 9–10 fear, 23
angles, 8 blood considerations, 210–211 positive and negative space, 9 muscular control, 19, 23, 29–31, 256
line of action, 9–10 makeup, 116 lessons sadness, 24
positive and negative space, 9 script supervisor, 253–254 contour drawing, 14–15 surprise, 23
proportions, 5–6 Contour brush, 242 shadows, 15 Facial hair
torso triangle, 6–7 Contours, foundation, 78 Drug addict, makeup tips, 234 adhesives, 151–152
276 Box rental, see Kit fee Core shadow, definition, 3 Dual tone, definition, 39 beard stubble 277
Brightness, 49 Correction filter, 50–51 DWL, see Dominant wavelength approaches, 149
Bring it back to life, 91–92 Corrugator muscle, 29 brush application, 151
Bristles, types, 241 Cream foundations, types and functions, 74–75 Elderly, see Aging sample application, 147–149
Brow, see Eyebrow Cream to powder foundations, types and Emotion, see Facial expression five o’clock shadow simulation,

IN D EX
Brow brush, 241 functions, 75 Enhancing filter, 54 104–107
Brushes Crease brush, 242 Eschbacher, Daniela, 237, 264 hair ball method, 149–150
bristle types, 241 Crow’s feet, aging makeup, 123 Ethmoid bone, 19 lace cleaning after removal, 152–153
cleaners, 243 Crowds, see Background Evans, Kris, 165, 264 Makeup Artist experience, 134–135
types, 241–243 Cure, definition, 185 Extras, see Background masking tape technique, 139–142
Buccinator muscle, 29 Cure inhibition, definition, 185 Eyebrow net lace method, 150–151
Burn, types, 207–208 airbrushing, 170 template creation for full beard, 135–139
Dark halftone, 2–3 blocking texturizing, 153
Cake makeup, types and functions, 75 Day checking adhesive block, 117–118 ventilated beard construction
Call sheet, interpretation, 219–223 call sheet reading, 219–223 appliance block, 119 base, 142–143
Calling the roll, 252–253 commercials, 223, 228–229 waxing out, 118–119 cutting, 143–147
Camera filters, types, 53–54 films, 218, 221, 228–229 makeup types and functions, 81 hair preparation, 143
Caninus muscle, 29 kit fee, 229–231 shaping, 97–98 overview, 142
Canned spray water, 88–89 makeup kits Eye injury, 207 ventilating, 143
Casting, definition, 185 film set, 226–228 Eyelash comb, 242 Facial muscles, 19, 23, 29–31, 256
Cathode ray tube monitor, 63 overview, 223–224 Eyelids, aging makeup, 123 False eyelashes, 100–101
Ceret, Christina Patterson, 263 set bag, 225–227 Eyeliner Fan brush, 242
Chavant NSP clay, definition, 185 treatment products, 224–225 airbrushing, 170 Felix-Burke, Kin, 264
Cheek, aging makeup, 124 working out of, 232–233 brush, 242 Fillers, types and functions, 75
Chicken pox, 29 overview, 218 types and functions, 79–80 First assistant director, definition and functions,
Children, makeup tips, 101 set chair, 228 Eyeshadow 251–253
Chin, aging makeup, 124 time card, 229 airbrushing, 168–169 Five o’clock shadow, simulation, 104–107
Color compensating filter, 53 Dean, Richard, 64, 95, 112, 115, 263 brush, 242 Flat brush, 241–242
Color correction filter, 53 Deep-set eyes, 12 types and functions, 79 Flesh tones, mixing, 42–44
Color wheels, see Artist color wheel; Real Color Wheel Demolding, definition, 185 Eye shapes Fluff brush, 242
Complementary colors Design balanced eyes, 12 Fluorescent light, 51
definition, 39 character design, 115–117 deep-set eyes, 12 Fluorescent light correction filter, 54
types and use, 40–42, 44 development, 114 large eyes, 12 Foam latex mold
Compound fracture, 207 inspiration, 113 round eyes, 12 curing, 203
Concealers relationships with production members, 112–115 small eyes, 13 demolding, 203
brushes, 241–242 script, 113 wide-set eyes, 12 making, 199, 201
 overview, 197 Hair, see Facial hair color mixing, 49–51 Myers, Kenny, 121, 192, 196, 267–268
painting, 203–204 Halftone gel filters, 51–52 Myristate, definition, 185
safety, 201–202 dark halftone, 2–3 lessons, 56–57
Fog filter, 54 definition, 2 research by Makeup Artist, 48 Nail care equipment, 89
Foundation light halftone, 2–3 Lips Nasal bone, 19, 28
airbrushing, 168 HD, see High definition aging makeup, 124 Natural makeup, tips, 90–91
artist color wheel, 69 Head airbrushing, 170 Neck, aging makeup, 124
blending, 78–79 cranial bones, 18–19, 28 brushes, 242 Net filter, 54
brushes, 242 face triangle, 5 shapes, 13–14 Neutral density filter, 54
color theory, 70–71 facial bones, 19 Lipstick, types and functions, 81 News anchors and reporters, makeup tips, 235
concealers, 75, 77 movement axes, 3–4 Liquid crystal display (LCD) monitor, 64 Nose fracture, 207
contours, 78 muscles, 19, 23 Liquid foundations, types and functions, 74
functions, 72–73 proportions, 4–5 Look, Bradley M., 26, 161, 171, 173, 176, 266–267 Occipital bone, 18, 28
highlights, 77–78 Heart face, 11 Low contrast filter, 54 Old age, see Aging
mixing tips, 71–72 Heat exhaustion, 28 Opaque, definition, 39
primers, 73–74 Heatstroke, 28 Makeup Artist, definition and functions, 134, 251 Opposition colors, types and use, 40–42, 44
product comparisons, 76, 244 Herpes zoster, 27 Makeup Chart, 116–117 Orange, mixing, 43
special needs, 72 High definition (HD) Mandible, 19, 28 Orbicularis ocul, 30
278 types, 74–75 features, 60 Mascara, types and functions, 80 Orbicularis oris, 29 279
Frontal bone, 18, 28 makeup considerations, 60–61 Mass tone, definition, 39 Ousley, Dina, 167, 268
Frontalis muscle, 39 monitors, 63–64 Masseter muscle, 29 Oval face, 11
Frostbite, 28 television, 61 Maxillae, 19, 28
Furrow lines, aging makeup, 123 Highlights, foundation, 77–78 McNeill, Daniel, 23 Paddle brush, 242

IN D EX
HIV, see Human immunodeficiency virus Melanin, 68 Palettes, products, 245
Gel filters Homeless, makeup tips, 233–234 Men, see also Facial hair Parietal bone, 18
color wheel, 52 Horak, Steven, 91, 98, 265–266 Mentalis muscle, 29 Pax Paint, mixing, 36
lesson, 57 Hue, definition, 38 Men Period makeup
types, 52–53 Human immunodeficiency virus (HIV), 27 five o’clock shadow simulation, 104–107 1950s, 235
Gelatin mold makeup tips, 101 1960s, 235
applying, 195–196 Illness, makeup tips, 234 Mineral foundations, types and functions, 74 1970s, 236
making Mix ratio, definition, 185 1980s, 236–237
heating, 193–194 Jaw fracture, 207 Mold making Photography
molding, 194 Jusko, Don, 4, 36, 42, 265 foam latex mold, 199, 201 black-and-white photography
overview, 192–193 gelatin mold filters, 54–56
prepping, 194–195 Kabuki brush, 242 heating, 193–194 makeup tips, 240–241
material, 181, 192 Key production assistant, definition and functions, molding, 194 film types, 62
painting, 196–197 251–252 overview, 192–193 lighting, 51
Gheno, Dan, 2, 8, 264–265 Kit fee, 229–231 prepping, 194–195 Makeup Artist collaboration, 112–113
Glamour makeup, 99–100 KRYOLAN Crystal Clear, definition, 185 general steps, 181–184 Pink, mixing, 43–44
Goat bristle, 241 Kupitz, Erwin H., 135, 149, 266 gypsum mold, 197–199 Plasma screen, 64
Graduated filter, 53 materials, 180–181 Plastics, definition, 185
Gray, mixing, 233 Lacrimal bone, 19 problems, 181 Platinum cure silicone rubber, definition, 185–186
Green, mixing, 39, 43, 233 Large eyes, 12 safety, 181 Platysma muscle, 39
Green Marble S e L r Lash comb, 242 silicone mold Pneumonia, 27
aging technique, 121–123 Latex, mold making, 180 making, 186 Polar screen, 54
definition, 185 LCD monitor, see Liquid crystal display monitor painting, 188–189 Police officer, makeup tips, 234–235
Greenscreen, 62 Leukemia, 27 terminology, 185–186 Pony bristle, 241
Grooming equipment, 89 Lift, age reversal, 119–120 Monochromatic, definition, 39 Port-wine stain, features and camouflage, 26, 90
Gunshot wound, 208 Light halftone, 2–3 Mosko, Gil, 197, 203, 267 Pot life, definition, 185
Gypsum mold Lighting Mumps, 27 Powder brush, 242
making, 197–199 black-and-white photography, 54–56 Mungle, Matthew, 150, 267 Powder foundations, types and functions, 75
material, 197 camera filters, 52–53 Muscular system, 19, 21 Powder, products, 245
prepping, 202–203 color description terms, 48–49 Mustache, see Facial hair Primary color, definition, 38
 Primers Schedule, Makeup Artist day, 85–86 Stencils, airbrushing Translucent, definition, 39
prosthetic makeup, 215 Script applications, 167–168 Transparent, definition, 39
types and functions, 73–74 breakdown, 64–65 cleaning, 171–173 Traynor lift, 119–120
Pro mist filter, 54 makeup design, 113 Stipple sponge Triadic colors, definition, 39
Procerus muscle, 39 supervisor functions, 253–254 five o’clock shadow simulation, 104–107 Triangularis muscle, 29
Production report, script supervisor role, 254 Sealers, products, 245 preparation, 107 Tuberculosis, 27
Pros-Aide Bondo, definition, 185 Second assistant director, definition and functions, 251 Stipple
Pros-Aide, definition, 185 Second second assistant director, definition and definition, 243 Ultra contrast filter, 54
Prosthetic makeup functions, 251 old-age stipple products, 243–244 Undertone, definition, 39
adhesives, 214–215 Secondary colors, definition, 38, 49 Subtractive color mixing, 49–50 Unions, contacts, 271
molds, see Foam latex mold; Gelatin mold; Gypsum Setup, workstation, 87–89 Sun protection, 107–108
mold; Mold making; Silicone rubber mold Shadow Synthetic bristle, 241 Value, definition, 2
painting definition, 3 Vascular system, 19, 22, 30, 256
foam latex mold, 203–204 drawing, 15 Take down, tips, 240 Veins, 30, 255
gelatin mold, 196–197 Shock, 24 Tattoo Vendors
silicone rubber mold, 188–189 Sideburns, see Facial hair cover-up Asia, 249–250
removers, 215 Silicone rubber mold quick and easy, 102 Australia, 248
skin primers, 215 applying, 186–188 steps, 103–104 Canada, 248
280 thinners, 215 making, 186 temporary tattoos Europe, 249–250 281
transfer of prosthetics material, 180–181 applying Mexico, 249
applying, 190 painting, 188–189 colors, 213–214 New Zealand, 249
materials, 189 products, 244 sealer, 213 United States, 247–248
on-set, 190–191 Skeletal system tattoo, 212–213 Veneers

IN D EX
prosthetic preparation, 189–190 chart, 20 maintenance, 214 care, 130
removal, 191–192 cranial bones, 18–19, 28, 255 overview, 211 fabrication, 129–130
skin prepping, 189 facial bones, 19 removals, 214 touch-ups, 130
Psoriasis, features and camouflage, 26 lessons, 31 skin prepping, 211–212 Video lights, 51
Puff, 242 lower body, 29, 255–256 Tawil, Joseph N., 48, 268–269 Violet, mixing, 43
Pump brush, 242 spinal column, 28 Tear products, 244 Vitiligo, features and camouflage, 27
Purity, color, 49 upper body, 28–29, 255 Teeth
Purple, mixing, 233 Skin touch-ups, 130 Water-activated makeup, products, 245
anatomy, 24, 25 transformation, 128–130 Wet and dry brush, 243
Raccoon bristle, 241 disorders, 26–28 veneer care, 130 Wheeler, Paul, 53, 60, 269
RCW, see Real Color Wheel wound lesson, 31–32 Temporal bone, 19 Whitescreen, 63
Real Color Wheel (RCW), 36–37, 44, 69 Skin care Temporalis muscle, 29 White
Red, mixing, 38, 43, 233 Makeup Artist role, 86–87 Tetanus, 27 light, 49
Reflected light, definition, 3 sun protection, 107–108 Thinners, prosthetic makeup, 215 mixing, 44, 233
Release agent, definition, 186 Skin tone warmer filter, 53 Third assistant director, definition and functions, Wide-set eyes, 12
Removers Slating, script supervisor role, 254 251 Wigs, vendors, 250
products, 245 Slush casting, definition, 186 Time card, 229 Workstation, setup, 87–89
prosthetic makeup, 215 Small eyes, 13 Tinsley, Christien, 103, 189, 211, 268
take down tips, 240 Smallpox, 28 Tint, definition, 39 Yellow, mixing, 43
Reporter, makeup tips, 235 Smudger, 243 Tinted moisturizers, types and functions, 74 York, Patty, 116, 269–270
Retractable brush, 243 Snell, Richard, 121 Top tone, definition, 39
Rigid gypsum mold, definition, 186 Soft Sealer, definition, 186 Torso triangle, 6–7 Zygomatic arch, 19, 28
Risorius muscle, 29 Sphenoid bone, 19 Tozier, Nancy, 68, 70, 269 Zygomaticus muscles, 29
Rosacea, features and camouflage, 26 Sponge, 243
Round eyes, 12 Spot painting
Round face, 11 overview, 93–94
Rubella, 27 steps, 94–95
Square face, 11
Sable bristle, 241 Squirrel bristle, 241
Safety, sanitation, 108 Stab wound, 207
Scars, features and camouflage, 26–27 Stage lighting, 51