The Technique of the Professional Make-Up Artist

305 Pages·1995·30.33 MB·English

by  Vincent Kehoe

The Technique
of the
Professional
Make-wp Artist
Revised E dition
VincentJ -R Keboe
FOCAL PRESS
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Focal Press is an imprint of Butterworth-Heinemann.
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Copyright 0 1995 by Vincent J-R Kehoe.
All rights reserved.
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prints its books on acid-free paper whenever possible.
Figures 3.3, 3.4, 4.1, 7.1, 7.1 1, and 8.5 were drawn by Gail Burroughs.
Library of Congress Cataloging-in-Publication Data
Kehoe, Vincent J-R.
The technique of the professional make-up artist / Vincent J-R
Kehoe.-Rev. ed.
p. cm.
Includes bibliographical references and index.
ISBN 0-240-802 17-9
1. Theatrical make-up. I. Title.
PN2068.K42 1995
792'.0274c20 95-12015
CIP
British Library Cataloguing-in-Pu blication Data
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This book is gratefully dedicated in friendship and deep
respect to my colleagues and great innovators
in make-up artistry:
DICK SMITH,
who has always, freely and unselfishly, shared his
vast knowledge and most intimate research with us
all so as to better, and to advance, the quality of
our profession, and
EDDIE SEN&
who has aided me in countless ways to achieve any
success I have enjoyed, and
THE WESTMORE FAMILY,
whose great contributions to our profession have
inspired us all.
CONTRIBUTING AUTHORS
Dr. Martin Greenspoon and Dr. Richard Silver,
“Cosmetic Lenses and Eyes”
Dr. Robert 0. Ruder, “Cosmetics and Surgery”
Dr. Michael L. Potts and Dr. Jean Marie Greenberg,
“Cosmetic Dentistry”
Dick Smith, “Special Effects-Dick Smith”
Christopher Tucker, Appendix G
This page intentionally left blank
Preface to Revised Edition ix Beardcwers 32
Cheekcolovs 32
PART I BACKGROUND AND BASICS 1
Lipcolors 33
1. An Approach to Professional Make-up 3 Eyecolors 33
Artistry Pencils 33
Mascaras 34
2. Screen and Stage Production Methods 5
False Lashes 34
Motion Pictures 5
Pouider 34
Television 7
Cleansers 34
Theatre 8
Special Cleansers 34
Make-up Assignments 8
Skin Care Products 3J
The Physical Position of the Make-up Artist on the
Tools and Equipment 35
Set 9
Sponges 35
3. Mediums and Color Relationships 10 Pufls 35
Color 10 Brushes 35
Paint Colors 10 Special Tools 36
Light Colors I I Character Make-up Materials 37
Stage Lighting Gelatins 11 Dress and Appearance of Make-up Artists 40
Color and Light Relationships 12 Kit Maintenance 40
Black-and- White Film and Television 12 Obsolete Terms and Items 40
Color Television 12
Amount and Placement of Light 13 Conclusion to Part I: A Lesson for Learning 43
Color Temperature 15
Color Values of Sets, Costumes, and Make-up 16
Wardrobe I6
PART I1 BEAUTY MAKE-UP 45
Film Types 17
Production Filming and Procedures 18
6. Faces and Their Structures 47
Film Processing 18 Facial Shape Theory for Black-and- White
Audience Viewpoint 18 Mediums 47
Diffusion 21 Facial Anatomy 47
4. The Make-up Department 22 Skin and Hair Types 48
Color Shaping and Contouring Concepts 49
Lighting the Make-up Room 22
Color Principles 49
Room Furniture 23
Color Charts 50
On-Set Furniture 24
Location Make-up Room 25
7. Straight Make-up 51
Make-up Records 25
Women 51
5. Make-up Products and the Kit 26 Facial Coloration 5 1
The Make-up Kit 27 Blends and Lines 52
Historical Progression of Modern Make-up 27 Facial Contouring 52
Foundation Systems 28 Facial Dejinition 52
Color Matching 29 Sequence of Make-up Application 52
Color Perception 29 Make-up Styles 53
Foundation Shades 30 Make-up Application 54
Foundation Thinner 32 High Fashion Make-up 68
Shading and Countershading 32 Women u'ith Dark Skins 68
vi The Technique of the Professional Make-up Artist
Men 70 Eyes 102
Hairline Adjustments 72 Nasolabial Folds 102
Children 73 Chins and Jawlines 102
Body Make-up 74 Foreheads 102
Special Notes on Stage Make-up 74 The Head 102
Straight Make-up 75 The Hands 107
Women 75 Old Age Stipple 107
Men 76 Prostheses 1 I0
Character Make-up 76 Progressive Age 1 10
Reversal Techniques 1 10
8. Personal Revitalization Techniques 77
Removing Character Make-up 1 18
Physical and Cosmetic Skin Care 7 7
Skin Treatments 79 10. Racial and National Aspects 119
Medical Multitherapy Approaches 79 Basic Head and Facial Shapes 1 19
Cosmetic Lenses and Eyes by Drs. Martin Greenspoon Hair 119
and Richard Silver 80 Make-up to Change Racial Type 120
Hair Removal and Hair Transplants 81 Skin Coloration 120
Cosmetic Surgey 81 Eye Shapes 120
General Plastic Surgeons 81 Nasal Changes 121
Head and Neck Surgeons 81 Jaudines and Cheekbones 121
Eye Surgeons 81 Lips 121
Skin Surgeons 81 Hair Shape and Color 121
Cosmetics and Surgery by Dr. Robert 0. Ruder 81 National Types 122
Nasal Surgey 82 Europe 122
Eyebrow and Eyelid Surgv 82 North America 122
Facelift Procedures 83 Central and South America 125
The Skin 84 Southwestern Asia 125
Other Procedures 85 Southern Asia 125
Cosmetic Dentisty by Michael L. Potts, DDS, and Southeastern Asia 126
Jean Marie Greenberg, DMD 86 Eastern Asia 126
Jaw Relationships 86 Central and Northern Asia 126
Orthodontics 8 7 Oceania 127
Coloration 8 7 Africa 127
Crowns or Caps 87 11. Period and Historical Characters 129
Dental Bridges 87
Prehistoric Man 129
Bonding 87 Ancients 130
Dental lmplants 87
Egyptians 13 1
Tunporay “Production” Teeth 87
Mesopotamians 13 1
Periodontics 87
Greeks 132
Romans 133
Conclusion to Part 11: The Right Make-up 88
Hebrews 133
Dark Ages to Present Time 133
Interlude 88
The Dark Ages 133
Renaissance 133
PART I11 CHARACTER MAKE-UP 89 Seventeenth Centziy 133
Character Make-up 91 Eighteenth Centuy 134
Facial Distortion 9 1 Nineteenth Centuy 135
hlultiple Characters 93 Twentieth Centuy 13 5
Make-up Special Effects 94 Tuanty-first Centuy and Beyond 13 8
Special Historical Characters 138
9. Age with Make-up 97
Middle Age 97 12. Special and Popular Characters 141
Older Age 98 Horror Characters 141
Make-up Application 100 Skulls, Dads, and Witches 144
Foundations 101 Animal hlen-Creatures 146
Age Spots and Coloration 101 Fantasy Types 151
Highlights and Shadows 101 Dolls, Toys, and Tin Soldiers 152
:
Wrinkles 102 Statuay 152
Contents vii
Surrealistic Make-ups 155 Blood Efects 235
Pirates 157 Scars 235
Clowns 157 Tattoos 236
Old-time or Early Film Types 158 Volatile Solvents 23 7
Thickening Agents 239
Conclusion to Part 111: Dedication 159
PART V HAIR GOODS AND 241
THE HAIR KIT
PART IV LABORATORY TECHNIQUES 161
16. Types of Hairs and Their Uses 244
13. Casting and Molding 165 Wool Crepe Hair 244
lnlpression Materials 165 Real Crepe Hair 245
Rigid Inzpression Materials 165 Yak Hair 245
Flexible Impression Materials 167 Angora Goat Hair 245
Duplicating Materials 167 Horsehair 245
Cold Molding Compounds 167 Hunzan Hair 245
Separators 168 Artificial Hair 247
Sealers 169 Acrylic Hair Shades 247
Cast of the Face 169 Tools of the Trade 248
Sculpture Materials 172 17. Application Techniques 250
Molds 178 Facial Hair 250
Flat Plate Molds 178 Laid Hair 250
Slush and Paint-ivi-Molds 179 Prepared Hair Goods 253
The Two-piece Mold 183 Natural Hair 256
14. Latex and Plastic Appliances 187 Stubble Beards 256
Natural Rubber Materials 187 Blocking Brou1.s 256
Latex 187 Body Hair 256
Latex Appliances 189 Wigs, Falls, and Other Hairpieces 257
Foamed Latex 192 Measuring the Head 25 7
Basic Procedures fir Handling Latex Applying a Lace-fronted Wig 25 7
Appliances 198 The Half-wig or Fall 257
Plastic Materials 198 Women? Wigs and Hairpieces 258
Foamed Urethanes 198 Hair Coloring 258
Solid Polyurethane Elastomers 202 Darkening the Hair 258
Cap Material 203 Lightening the Hair 258
Molding Plastics 204 Graying the Hair 258
Tooth Plastics 207 Hair Sprays and Other Dressings 259
Special Construction Plastics 209 Styling Hair and Hair Goods 259
Gelatin Materials 209 Basic Wonien’s Hairpieces 25 9
Adhering Appliances 2 1 0 Attaching a Hairpiece 259
Matting and Thixotropic Agents 2 10 Removing a Lace Hairpiece or Wzg 259
General Applications 2 1 1 Rental Wigs and Hairpieces 263
Latex and Plastic Bald Caps 212
A New Beginning . . . 265
15. Special Effects 217
APPENDICES
Bidding on a Production 21 7
A: Professional Make-up Products 267
Rick Baker 218
B: Suppliers and Professional
Carl Fullerton 222
Addresses 273
Spasms by Dick Smith 224
William Tuttle 229 C: Lighting and Filters 275
D: Research File System 276
The Seven Faces of Dr. Lao 229
E: Professional Make-up Kits 277
Ettle? Frankenstein “Monster” 229
Stan Winston 231 F: Make-up Artist Examinations 279
G: British and European
Basic Make-up Eflects 232
Make-up Materials 28 1
Waxes 232
Glycerin 234
SELECTED BIBLIOGRAPHY 286
Burns 234
Bruises 235 INDEX 287

Preface to Revised Edition
When one considers that the former premise of profes- high-speed film has what one might call an almost “liv-
sional make-up application was based on achieving a ing room” lighting. It does not require any red-level fac-
sameness in facial coloration that would serve for televi- tor, and the foundation shades will be more on the olive
sion, tape, motion pictures, and the theater stage, broad to olive-tan side for the performers.
advances in electronic and film technology have now pro- There are often different make-up requirements for live
duced a definite diversity in make-up application among television sports events versus political interviews, for ex-
the media fields. While the theater has contributed little ample, because the former is usually taped with natural
to this development, it is still a form of live entertain- outdoor lighting, whereas the latter is produced within
ment that must be taken into consideration. the confines of the studio (such as during newscasts) with
Progress on motion picture film speed, lighting, and a very limited range of movement and controlled light-
color methodology in the developing laboratory can all ing. Today’s color television picture produces acceptable
significantly affect the skin coloration created by make-up skin tones for most exterior sunlit events, but when artifi-
products. Many weekly series seen on television are both cial lighting is introduced to point up facial features in a
filmed and taped at the same time, as well as performed studio, facial make-up is important. Studios that use a
before a live audience in the studio to provide basic sound constant (and recommended) lighting of 3200” Kelvin
reactions. This has entailed the use of a combination of (color temperature rating) usually provide a better make-
multiple film and video cameras and a stage-type produc- up effect than those (often local, small studio sets) that
tion geared to scripting in episodic segments, as well as cut the voltage to their light by 10 volts (to extend the
lighting for both the viewing audience and the electron- life of the bulbs), producing a set lit with 3100” K. In
ics of the medium. In the studio-audience production, the the latter, the facial skin tones are often increased in over-
facial make-up shades are basically a compromise between all redness.
those required for filmitape media and those required for In addition, a number of arts and crafts of other disci-
stage-quality lighting, so that there is usually more of a plines have been intercrossed with the make-up profes-
red factor in the make-up base than for a strictly motion sion to produce some highly flexible and enormously
picture film set. progressive visual effects achieved by blending and in-
For example, the tonal value of the make-up founda- corporating puppetry, digital computing, electronic
tion for Burt Reynolds in his weekly audience-attended coloration, and lighting factors. However, the basic day-
show Evening Shade is close to RCMA KM-37, a mixture to-day procedures of “paint and powder” technology
of an olive-tan and a red-brownish color. The warmer skin employed by the professional make-up artist still en-
effect is adjusted electronically for video transmission, compass the bulk of daily studio work today. Approxi-
making the skin tone appear very natural to both the mately 85 percent of all professional applied studio
studio audience and the television viewer in the home. In make-up is for personal enhancement, while the re-
contrast, the make-up employed on Dean Cain in Lois and mainder can be called “character” or “special make-up
Clark, a production filmed in the studio with no audi- effects.
”
ence, is RCMA KT-2, a medium yellow-tan shade. There Character and special make-up effects have been im-
is considerable difference in the red factor between Burt proved, not only by advances in available materials, but
Reynolds’s KM-37 and Dean Cain’s KT-2, but Cain’s also by a burgeoning interest and a developed talent in
show is shot with a very high speed color film, so a lesser this field. Every good professional make-up artist should
intensity and degree of light is required for good skin be familiar with every phase of his profession, even those
tone effects. techniques not employed or used every day. The materi-
Today’s make-up recommendations and charts have als required for special-effects work are not true cosmetic
changed from earlier years, and there are two levels of items employed for everyday use, but rather are highly
coloration suggested. In the first, the stage-lit, studio- specialized and developed materials that sometimes con-
audience production either filmed or videotaped, there is tain skin-drying solvents or other materials solely ger-
an overall pinker/red factor in the foundation bases; main to character make-up use. Great care must be
whereas the studio-lit, no-audience production shot with taken in their application to the human skin. If any