makeup is a vital element in creating the total appearance of the actor
DESCRIPTION
Makeup is a vital element in creating the total appearance of the actor The makeup design gives the audience clues to the age, health, and vitality of the character Working with the costume designer, the makeup designer is responsible for the design and execution of the makeup. - PowerPoint PPT PresentationTRANSCRIPT
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Makeup is a vital element in creating the total appearance of the actor
The makeup design gives the audience clues to the age, health, and vitality of the character
Working with the costume designer, the makeup designer is responsible for the design and execution of the makeup
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Designing the Makeup
The makeup designer must design the makeup to transform the actor into the character
The designer should be aware if genetics, exposure to the elements, skin deformities, and historical period
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Designing the Makeup
The makeup designer’s process is similar to that of other designers
Read the script
Attend production meetings
Hold individual conferences with the director, costume designer, and actors
Do research
Provide sketches
Apply makeup for production
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Designing the Makeup
Makeup Drawings
Preliminary sketches
Quick sketches drawn in any medium that show what the makeup should look like
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Designing the Makeup
Makeup Drawings
Predrawn makeup worksheets
If the designer is inexperienced with sketching, these worksheets of frontal and profile views can be helpful
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Designing the Makeup
Makeup Drawings
Makeup design adapted to the actor
Once the design is finalized, it should be adapted to the actor
This can be done by placing tracing paper over a photo of the actor
This same process can also be done on the computer, using software programs such as PhotoShop
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Designing the Makeup
Makeup Drawings
Working drawings
These drawing provide detailed information that shows the actor or makeup artist how to apply the makeup
These drawing usually show frontal and profile views, as well as detailed notes
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Types of Makeup
Various materials are used for makeup base, liners, beards, mustaches, and prosthetic devices
Cake makeup
Creme makeup
Liquid makeup
Dry makeup
Greasepaint
Rubber-Mask Greasepaint
Makeup Removers
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Types of Makeup
Cake Makeup
The most common type of theatrical makeup
Dry or moist, cake makeup is pigmented material compressed into cake form
A variety of bases as well as highlight and shadow colors are available
Can be applied with natural silk sponges, and brushes are used for detailed work
Cake makeup does not require powdering
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Types of Makeup
Creme Makeup
A moist, nongreasy foundation
Creme makeup can be applied with a sponge, brush, or the fingers
It is compatible with cake makeup but requires powder to be set
Creme makeup is also available in stick form—called crayons
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Types of Makeup
Liquid Makeup
Liquid makeup manufactured for theatrical purposes is mainly limited to body makeup
A variety of liquid bases formulated for street wear work perfectly well for the stage
Liquid bases dry quickly and are hard to blend if more than
one shade ofbase is being
applied!
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Types of Makeup
Dry Makeup
Dry makeup includes all makeup that is dry when applied to the skin
Face powders and pressed powder rouge are used as supplements to other types of makeup
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Types of Makeup
Greasepaint
Until the development of quality cake and creme makeups, greasepaint was the most commonly used theatrical makeup
Opaque and cream-based, it is available in jars, tubes, and tins in a variety of colors
Greasepaint creates a reasy, shiny base that does not take highlights and shadows well
It also requires a coating of powder
Greasepaint canalso clog pores and promotes
facialperspiration
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Types of Makeup
Rubber-Mask Greasepaint
This specialty greasepaint, made with a castor-oil base, is primarily used to cover latex
It must be thoroughly powdered before any additional makeup can be applied
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Types of Makeup
Makeup Removers
There are many brands and types of makeup removers; here are a few
Kryolan’s Makeup Remover
Mehron’s Liquefying Cream
Ben Nye’s Quick ‘n Clean Makeup Remover
Cleansing creams, cold cream, and baby oils sold in the drugstore remove most types of theatrical makeup—although they can be slightly harsher on the skin!
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Application Techniques
Several application techniques can be used with all types of makeup
Highlights and Shadows
Stippling
Corrective Makeup
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Application Techniques
Highlights and Shadows
By painting artificial, two-dimensional highlights and shadows on an actor’s face, the makeup artist manipulates the audience’s perception of that face
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Application Techniques
Highlights and Shadows
Facial highlights are simply those areas that reflect more light that the surrounding skin reflects
Shadows are those areas that reflect less
The highlight color is a lighter version of the foundation, while the shadow color is darker than the foundation
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Application Techniques
Stippling
Stippling is a method of applying makeup by daubing or patting rather than stroking
Stippling with a brush or sponge roughens the skin texture
The use of two or more stipple colors will create a more natural look
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Application Techniques
Corrective Makeup
The purpose of corrective makeup is to enhance the natural appearance of the actor
After applying foundation or one or more colors, the actor’s natural facial structure is either emphasized or de-emphasized with highlights and shadows
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Three-Dimensional Makeup
Three-Dimensional Makeup involves the use of various materials to alter the shape the actor’s face, neck, or hands
Nose Putty
Derma Wax
Gelatin
Latex
Prosthetics
Beards and Mustaches
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Three-Dimensional Makeup
Nose Putty
Nose putty can be used to alter the shape of the nose, chin, and other nonflexible areas of skin
Adhesion can be increased with the use of spirit gum
Apply foundation color and other makeup after applying and shaping the nose putty
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Three-Dimensional Makeup
Derma Wax
Derma wax is softer than, but does not adhere as well as, nose putty
It is used for similar modifications of hard structures, such as noses and chins
Derma wax requires a coating of spirit gum
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Three-Dimensional Makeup
Gelatin
Gelatin, such as unflavored Knox gelatin, form a thick paste that solidifies when cooled when combined with hot water
It can be used to form three-dimensional shapes such as warts, scars, and moles
Gelatin adheres to thoroughly grease-free skin and is more flexible than nose putty and derma wax
It can be used on fleshy, flexible skin—such as cheeks
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Three-Dimensional Makeup
Latex
Several types of latex systems are used for a variety of purposes, such as forming prosthetic pieces, creating wrinkles, and applying crepe hair
Liquid latex is available in clear and flesh-colored formulations
Foam latex is soft, flexible expanding foam that is poured into mold to form prosthetic pieces
Latex can also be used to make bald caps and eyebrow masks
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Three-Dimensional Makeup
Prosthetics
Prosthetic devices—latex noses, chins, bald caps, eyebrow blocks, etc.—can either be purchased or made in the shop
Items such as noses and chins, that must fit well on an actor’s face, are better created on the face or cast from a “life mask” of the actor
Latex prosthetics can be attached to the skin using wither latex or spirit gum
Life mask—a plaster mask of a person’s face, created using plaster of paris
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Three-Dimensional Makeup
Prosthetics
Latex prosthetics can be attached to the skin using wither latex or spirit gum
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Three-Dimensional Makeup
Beards and Mustaches
False beards and mustaches are usually made from crepe hair, animal hair, or human hair
Crepe hair is the least expensive and most commonly used
Crepe, animal, and human hair are all available in a wide variety of colors
Hair should be attached using spirit gum
Theatrical Design and Production
Chapter 18: Makeup
© 2006 McGraw-Hill. All right reserved.
Three-Dimensional Makeup
Beards and Mustaches
Ventilated beards and mustaches take more time to construct but look more realistic
Generally made from synthetic or relatively coarse human hair, they are constructed on lace or gauze backing