makeup is a vital element in creating the total appearance of the actor

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