The Makeup Artist Handbook (2e)

456 Pages·2016·8.2 MB·English

by  Davis Gretchen

Table of Contents
Cover image
Front matter
Copyright
Preface
Acknowledgments
1. Shapes
2. The Body
3. Color
4. Lighting
5. Technology
6. Foundations
7. Beauty and Basics
8. Design
9. Hair
10. Airbrush
11. Effects
12. How to Be a Pro
Cosmetics, Tools, Labs, and Effects
The Crew
Glossary
Professional Library
The Pros
Unions
Index
Front matter
The Makeup Artist Handbook
Second Edition
The Makeup Artist Handbook
Techniques for Film, Television, Photography, and Theatre
Second Edition
Gretchen Davis and Mindy Hall
AMSTERDAM • BOSTON • HEIDELBERG • LONDONNEW YORK •
OXFORD • PARIS • SAN DIEGOSAN FRANCISCO • SINGAPORE •
SYDNEY • TOKYO
Focal Press is an imprint of Elsevier
Copyright
Illustrators: Robert Revels (www.robertrevels.com), Devon Keene
Drawings for shapes: Dan Gheno
Drawings for color: Don Jusko
Cover design: Mary Birchler
Focal Press is an imprint of Elsevier
225 Wyman Street, Waltham, MA 02451
The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK
© 2012 Gretchen Davis and Mindy Hall. Published by Elsevier Inc.
All rights reserved.
No part of this publication may be reproduced or transmitted in any form or by
any means, electronic or mechanical, including photocopying, recording, or any
information storage and retrieval system, without permission in writing from the
publisher. Details on how to seek permission, further information about the
Publisher's permissions policies, and our arrangements with organizations such
as the Copyright Clearance Center and the Copyright Licensing Agency, can be
found at our website: www.elsevier.com/permissions.
This book and the individual contributions contained in it are protected under
copyright by the Publisher (other than as may be noted herein).
Notices
Knowledge and best practice in this field are constantly changing. As
new research and experience broaden our understanding, changes in
research methods, professional practices, or medical treatment may
become necessary.
Practitioners and researchers must always rely on their own experience
and knowledge in evaluating and using any information, methods,
compounds, or experiments described herein. In using such information
or methods they should be mindful of their own safety and the safety of
others, including parties for whom they have a professional
responsibility.
To the fullest extent of the law, neither the Publisher nor the authors,
contributors, or editors, assume any liability for any injury and/or
damage to persons or property as a matter of products liability,
negligence or otherwise, or from any use or operation of any methods,
products, instructions, or ideas contained in the material herein.
Library of Congress Cataloging-in-Publication Data
Davis, Gretchen.
The makeup artist handbook: techniques for film, television, photography, and
theatre / Gretchen Davis, Mindy Hall. – 2nd ed.
p. cm.
Includes index.
ISBN 978-0-24081894-8
1. Film makeup. 2. Television makeup. 3. Theatrical makeup. I. Hall, Mindy. II.
Title. III. Title: Techniques for film, television, photography, and theatre.
PN1995.9.M25D38 2012
792.02'7–dc23
2011038123
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
For information on all Focal Press publications, visit our website at
www.elsevierdirect.com.
12 13 14 15 5 4 3 2 1
Printed in China
Preface
The Makeup Artist Handbook has become our journey into writing about what
we do, how we do it, and why we do it. The Second Edition gives updated
information, with new artists and products, and the latest in innovations and
techniques. Our pro tips and artist quotes will inspire you and give you an
advantage on the job. Our new addition of on-the-job, professional examples
written from the set, gives you insight into a moment, or day, in the life of a
professional Makeup Artist, with invaluable lessons from the field.
Our goal has always been to pay it forward and share the experience and
knowledge of our careers in makeup, to provide the next generation of artists
with the most real, timely knowledge from many points of view. The original
idea was simple: think outside the box, include as many of our colleagues as
possible to share their expertise and knowledge, and give the book as many
“voices” to learning as possible. We had no idea how rewarding this experience
would be, not only for you but for us—we have been inspired. Our global group
brings knowledge rich with talent, skill, and innovation. This community's
generous nature to share and mentor from their phenomenal experience is your
gain, and to your advantage. You are learning from some of the best of the best!
Learning from one standpoint puts the students at a disadvantage and our global
base gives you more insight into working as a freelance Makeup Artist, with all
the skills, knowledge, and protocol that are required of you. By exposing you to
as many different approaches as possible you will learn to work outside the box
and be able to handle the flow of your first day on any job. There are countless
ways to go about creating and applying makeup, so we have included examples
from different artists to develop your hand, your instincts, and open your mind.
The innovations within our industry keep us constantly learning, evolving, and
moving forward with our talents. This is a career where you never stop learning,
so for us, this time of updating products, techniques, and added information is
exciting, necessary, and an opportunity to continue sharing the experience.
We assure you that all product references, lists of industry standards, and the
techniques in this book are genuine working examples in today's market. The
lists are a culmination of our 25-plus years of experience, interviews with our
colleagues in all mediums, and done without bias or favoritism. No
endorsements or promotional fees by any company or individual were paid to us
or our colleagues in the preparation of this book. We are part of an international
community: Sharing knowledge, product information, and techniques are all part
of the lessons learned and shared with each other through our travels and our
commitment to the art.
Acknowledgments
Gretchen Davis and Mindy Hall
Once again, we could not have done it without our amazing pros, who continued
to share, update, and inspire us. We are very grateful to have all of the original
contributors and designers from the first edition join us again on the second
edition, and we are thrilled to include new artists and pros to this global group.
Their vast contribution of knowledge, talent, and experience to this edition is
humbling.
Tremendous thanks to Darla Albright, Matiki Anoff, Gary Archer, Mary
Birchler, Fred Blau, J.C. Cerville, Debra Coleman, Richard Dean, Ken Diaz,
Daniela Eschbacher, Kris Evans, Kim Felix-Burke, Dan Gheno, Steven Horak,
Don Jusko, Devon Keene, Erwin H. Kupitz, Bradley M. Look, Gerd Mairandres,
Randy Huston Mercer, Gil Mosko, Michele Mulkey, Matthew Mungle, Kenny
Meyers, Dina Ousley, Christina Patterson, Robert Revels, Susan Stone, Joseph
N. Tawil, Christien Tinsley, Nancy Tozier, Kazuhiro Tsuji, Jenny King Turko,
Paul Wheeler, and Patty York.
To S.E. Radich, there would be no text without you. You kept us sane and
organized with our crazy schedules, multiple time zones, locations, and our long
hours on set. Your amazing patience, support, and input have made this book
complete. Unending thanks to you for your invaluable contribution in getting us
to the final manuscript. Once again, we could not have done it without you.
Much thanks to Mary Birchler Design, for our beautiful book covers and
elegance throughout both editions of this book. Thank you to Robert Revel and
Devon Keene, whose illustrations give visual inspiration and life to our text.
Thank you to Focal Press and Elsevier for recognizing the need for this book.
Specifically, thank you Elinor Actipis for your continued support, guidance, and
encouragement through two editions.
We thank our friend, Jeffery J. Dicks, Esq., and colleague, Ashley C.L. Brown,
Esq., for the support, guidance, and care in all things legal, and their wonderful
enthusiasm for this book and the future.
Thank you to the Academy of Art University, San Francisco, and to filmmaker
and innovator, David Oliver Pfeil, who was the first to approach Gretchen about
starting a makeup program for the Academy of Art University. Without his
vision and understanding of the importance of makeup in the film department,
both as an art form and a career, students would not have had the opportunity to
experience and witness what a Makeup Artist does. Thank you to Dan Burns and
Jack Isgro for their support in the success of the makeup program at the
Academy. Jack, your input to Elsevier made this all happen. Many thanks to
Elisa Stephens who encourages instructors to teach students how it really is in
the working world.
Much love and thanks to our families, friends, and mentors, who over the years
have cheered us on in our careers, supported us in our travels, and offered
unwavering, unconditional love, no matter how many times our schedules
changed. You made it possible for us to give back, sharing all that we know and
do.
Lastly, to all those actors, models, and performers whom we have touched
throughout our years, thank you. You have allowed us to do “that thing we do”
with you as our canvas!
Thank you.