The Makeup Artist Handbook: Techniques for Film, Television, Photography, and Theatre

294 Pages·2008·12.9 MB·English

by  Gretchen Davis

THE MAKEUP ARTIST HANDBOOK
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THE MAKEUP ARTIST HANDBOOK:
Techniques for Film, Television,
Photography, and Theatre
Gretchen Davis and Mindy Hall
AMSTERDAM (cid:129) BOSTON (cid:129) HEIDELBERG (cid:129) LONDON
NEW YORK (cid:129) OXFORD (cid:129) PARIS (cid:129) SAN DIEGO
SAN FRANCISCO (cid:129) SINGAPORE (cid:129) SYDNEY (cid:129) TOKYO
Focal Press is an imprint of Elsevier
Acquisitions Editor: Elinor Actipis
Developmental Editor: Michele Cronin
Publishing Services Manager: George Morrison
Project Manager: Kathryn Liston
Editorial Assistant: Robin Weston
Marketing Manager: Marcel Koppes
Illustrations: Robert Revels (www.robertrevels.com)
Drawings for Shapes: Dan Gheno
Drawings for Color: Don Jusko
Cover Design: Mary Birchler
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Copyright © 2008 Gretchen Davis and Mindy Hall. Published by Elsevier Inc. All rights reserved.
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ISBN: 978-0-240-80941-0
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CONTENTS
Dedications/Acknowledgments vii
Chapter 1 Shapes 1
Chapter 2 The Body 17
Chapter 3 Color 35
Chapter 4 Lighting 47
Chapter 5 Tech Stuff 59 v
Chapter 6 Foundations 67
Chapter 7 Beauty and Basics 83
Chapter 8 Design 111
Chapter 9 Hair 133
Chapter 10 Airbrush 155
Chapter 11 Effects 179
Chapter 12 How to Be a Pro 217
Cosmetics, Tools, Labs, and Effects 247
The Crew 253
Glossary 257
Professional Library 263
The Pros 265
Unions 273
Index 275
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FOR ALL MAKEUP ARTISTS, EVERYWHERE
DEDICATIONS
This book is dedicated to my husband John, who has always supported me. To my family,
whose artistic abilities never cease to amaze me: Mom, Dad, Son, and Sisters. To my friend
and colleague Yvette, who can make me laugh no matter where we are.
And of course who can forget Max?
—Gretchen Davis
vii
ACKNOWLEDGMENTS
This book could not have happened without “The Pros,” our amazing friends and colleagues
who shared their talents and expertise, their time and valuable contributions to this text.
They made this happen though crazy schedules, numerous locations, countries, time zones,
and ridiculous work hours to contribute. They are true artists who recognize the need to
share our craft.
Tremendous thanks to Darla Albright, Gary Archer, Mary Birchler, Fred Blau, Christine
Patterson Ceret, Debra Coleman, Richard Dean, Ken Diaz, Daniela Eschbacher, Kris Evans,
Kim Felix-Burke, Dan Gheno, Steven Horak, Don Jusko, Erwin H. Kupitz, Bradley M. Look,
Gerd Mairandres, Randy Huston Mercer, Gil Mosko, Matthew Mungle, Kenny Meyers, Dina
Ousley, Susan Stone, Joseph N. Tawil, Christien Tinsley, Nancy Tozier, Jenny King Turko,
Paul Wheeler, and Patty York.
Unending thanks to S. E. Radich for your undying support, tireless hard work, and fl awless
organization of this book and its content. You kept it all together, again though several
locations, time zones, and countries. Without you, there would be no “input” of text and no
coordination of crazy schedules and deadlines! We could not have done it without you.
Thank you Academy of Art University fi lmmaker and innovator David Oliver Pfeil, who fi rst
approached Gretchen about starting a Makeup Program for the school. Without his vision
of the importance that Makeup has within the Film Department and as an art form,
students would not have had the opportunity to experience and witness what a career as a
Makeup Artist could be. Along with David, thank you to Dan Burns and Jack Isgro for their
support in the success of the Makeup Program. Jack, your input to the publisher made this
book happen. Many thanks to Elisa Stephens who encourages instructors to teach students
how it really is in the working world.
Much love and gratitute to our families, friends and mentors who have cheered us on and
guided us through this journey, and lastly to all those actors who have allowed us into their
world, face to face for countless hours to do “that thing we do”. We could not do it with
out you.
Thank you.
—Gretchen Davis & Mindy Hall
viii
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FOREWORD
“Most civilians—people who don’t make movies for a living—think makeup men are little
more than hovering sprites who powder noses. But they are true artists, often unsung, who
imprint fi lm with the soft touch of their brushes and the hard work of their craft.
“The Man Who Aged Me” by Tom Hanks
Article Published in the New York Times, April 27, 2006
ix