Arteries
Aorta: Largest artery in the body.
Coronary Arteries: Supply blood to the heart.
Brachiocephalic Trunk, Right Carotid Artery, and Right Subclavian Artery: Provide blood to the neck, head, and upper limbs.
Left Carotid and Left Subclavian Arteries: Provide blood to the left side of the head, neck, and upper limbs.
Celiac Trunk, Superior Mesenteric Artery, and Inferior Mesenteric Artery: Supply blood to the abdominal internal organs.
Renal Arteries, Suprarenal Arteries, and Gonadal Arteries: Provide blood to internal organs at the back of the abdominal wall.
Left and Right Common Iliac Arteries: The abdominal aorta divides into left and right common iliac arteries.
Veins
Superior Vena Cava: Receives blood from the upper body by way of the internal jugular, subclavian, and brachiocephalic veins.
Internal Jugular: Receives blood from the head and neck area, including the brain.
Subclavian: Empties blood from the shoulder area.
Brachiocephalic: One of two veins that form the superior vena cava.
Inferior Vena Cava: Receives blood from the pelvis, abdomen, and lower limbs.
Portal System: A set of veins that deplete blood from the intestines and the supporting organs.
Hepatic Portal Vein: Vein that leads from the intestinal veins to the liver.
Splenic Vein: Vein leaving the spleen.
Superior Mesenteric: Blood returns to circulation through this vein by way of the small intestine.
Anatomy Lessons
It is difficult to constantly memorize and remember every bone and muscle in the body, not even counting the vascular system. But learning the basics and having those references to remind you of the correct placement of bones and muscles are important. The first two lessons are important because the more often you look at and write down a term, the faster you'll start to recognize it.
Lesson One: The Skeletal System
1. Find an unlabeled drawing, photo, or chart of the skeletal system.
2. Make a copy of the unlabeled skeletal system to write on.
3. List the bones correctly on your copy of the unlabeled chart, checking your answers from the labeled skeletal system chart in Figure 2.3. You need to list only the basic bone structures: skull, neck, shoulders, arms, chest, wrist, fingers, legs, ankles, feet, toes, and so on.
Lesson Two: The Facial Bones
1. Find an unlabeled drawing, photo, or chart of the facial bone structure.
2. Make a copy of the unlabeled facial bone structure to write on.
3. List the basic facial bone structures on your copy of the unlabeled chart, checking your answers using the labeled facial charts in Figures 2.1 and 2.2.
Lesson Three: Facial Muscles
1. Find three or four photos of interesting faces with different expressions.
2. Make copies of each of the photos.
3. List the correct facial muscle(s) on the photo that is/are causing the expression in the photo (e.g., crying, laughing, being scared, and so on).
4. Repeat step 3 for each of the photos.
Lesson Four: Body Wounds
This lesson can be done over time to get what you want. Using a camera, take pictures of several different types of wounds. You can also use photographs found in magazines or medical books.
1. Observe up close what the shapes, sizes, colors, and textures are for each wound.
2. Write down where the wound is located on the body, using the correct medical terms to describe the location (e.g., “The scratches are located on the epidermis in the torso area”).
The idea of this lesson is for you to start looking at wounds or illnesses in terms of colors, shapes, and textures instead of by what you think you already know. Starting a logbook for future reference is always a good idea. At the end of one year, review your book. It may include some of the following wounds:
• Bruises (new, a few days old, a week later)
• Scratches (new and old)
• Cuts (new and old)
• Scars
• Blisters
References
(Contributors) Cheryl A. Bean, Peggy Bozarth, Yvette P. Conley, Lillian Craig, Shelba Durston, Ken W. Edmisson, William F. Galvin, Deborah A. Hanes, Joanne Konick-McMahan, Lt. Manuel D. Leal, Dawna Martich, E. Ann Myers, Sundaram V. Ramanan, Barbara L. Sauls, Janet Somlyay, Sandra M Waguespack.
Alcamo, I.E., Anatomy Coloring Workbook I. second ed. (2003) Princetonreview, New York.
Anatomical Chart Company, Springhouse, Atlas of Pathophysiology. second ed (2006) Lippincott, Williams & Wilkins, Philadelphia.
Barcsay, J., Anatomy for the Artist. (2006) Sterling, New York.
DiMaio, V.J.M., Gunshot Wounds: Practical Aspects of Firearms, Ballistics and Forensic Techniques. second ed. (1998) CRC Press, Boca Raton, FL.
Fehér, G., Cyclopedia Anatomicae. (2006) Black Dog and Leventhal, New York.
Habif, T.P., Clinical Dermatology. third ed. (1996) Mosby, St. Louis.
Look, B., How to Cover Facial Disorders. (2007) .
McNeill, D., The Face: A Natural History. (1998) Back Bay Books, Boston.
MedicineNet, Frostbite, www.medicinenet.com/frostbite/page2.html (2007).
MedicineNet, Heat Exhaustion, www.medicinenet.com/heat_exhaustion/article.html (2007).
MedicineNet, Heatstroke, www.medicinenet.com/heatstroke/article.html (2007).
Moses, K.P.; Banks, J.C.; Nava, P.B.; Peterson, D., Atlas of Clinical Gross Anatomy. (2005) Mosby, St. Louis.
3. Color
Color is used to create a mood, enhance skin tone, design looks or characters, and correct environmental issues such as lighting and the mixing of pigments or paint.
The basics of color theory are essential for all makeup artists to know and understand. You will be using color in every makeup job you do. All aspects of makeup use color: foundations, color-correcting skin tones, lip tones, concealing tattoos, eliminating blemishes or irregularities such as birth marks or stains, painting, and color prosthetics. There will be countless times when color issues come up that you must be able to resolve. You will not be successful at problem solving unless you understand color and its functions. The wrong color choice will change everything about what you as the artist are trying to say or create with makeup, and needless to say, will not look right.
Coloring is one of those things that you should practice a lot and develop your own way. If you only follow what someone else does, you will never improve.—Kazu
Artists can and most often do, select many palettes to work in, whether in blue tones or earth colors; the choice will depend on the mood, design, model, or actor. Color mixing takes place when two or more colors come together to form a different color. Only three basic colors are needed to create just about any other color. For this reason, these are referred to as “primary colors.” In mixing paint, inks, and dyes, the subtractive method is used, and gives you the widest range of colors. The subtractive primary colors are cyan, magenta, and yellow. For example, the subtractive primary colors are the three primary colors used in all printer cartridges. Note that the three primary colors for mixing paint, ink, and dyes are not the same three primary colors that are used when mixing light. The three basic colors used for mixing light or illumination are red, green, and blue. They are called the additive primary colors.
Color mixing works for a variety of surfaces, products, and all skin tones. PAX Paint is an example of a makeup artist's use of color theory, function, and paint mixing. PAX Paint, an industry standard, is made up of a combination of Pros-Aide (an adhesive) and acrylic paints. It is used on various surfaces where there is a need for friction proofing, waterproofing, and color that will not flake or lift off.
Professional example:
You are working with an actor who is heavily tattooed, and the character should not be tattooed or the director does not want to see the tattoos. The simplest solution is for the cost
ume cover the tattoos, but there are several scenarios when this is not possible. If the tattoos are on the arms, legs, or neck, for example, and the costumes will expose them, you will need a friction-proof and water-proof cover (Figures 3.1 and 3.2). PAX Paint is great for this; however, you will not be successful in your application if you do not understand color and color mixing. You will need to layer several colors over each other to cancel out the tattoo inks and bring skin tone back to the covered skin.
Figure 3.1: Real Tattoo(s) on Man's Arm
Figure 3.2: Tattoo Cover on the Same Arm
Other examples:
Are the shades positive or negative?
How can you correct and improve skin tones?
How can you block out “port wine stains” or birth marks?
How will colors look under certain lighting conditions and environments?
How will a color register on film or highdefinition (HD) digital images?
How can you “counter color” correct for film or HD?
How can you color prosthetics?
You must learn the basics of color, period. In brief, you need to study color theory in detail, as it is important to your success and will enable you to excel your artistry and applications.
Sir Isaac Newton developed the first circular diagram of colors in 1666. Since then numerous variations of this concept have been designed. Differences of opinion about the validity of one format over another continue today.
Don Jusko created the Real Color Wheel (RCW, Figure 3.3), which has modernized the way we use and relate to color. In the RCW, every color has an opposite color to be used in mixing neutral darks. Any artist who wishes to mix dark colors without black pigments can use the RCW. You could also use this color wheel to match, darken, or lighten skin tones and to find complement colors to existing colors—for example, accents to eye shadows and lipstick colors. According to Don, “It is important for an artist to know how colors relate to one another, which opposite colors will darken the existing colors, and which colors are analogous.”
Figure 3.3: Don Jusko's RCW Color Wheel
In this chapter, we discuss Jusko's RCW and how it relates to the Makeup Artist.
How to Use the Color Wheel
A color wheel in this true form gives the artist a tool to create different hues and to shade them to neutral darks. The Makeup Artist would take this one step further by considering what colors would also work under different conditions, such as lights, color corrections, color grading, and so forth. The following will give you the basic language used to decipher the blending of hues.
To begin to understand how to use the color wheel, it is important to know where to start. On the RCW, the colors on the outside of the wheel are pure hues. What you can add to alter these colors is a tint with white, a tone with white and the complement color, or a shade with just the complement color. This will determine the final outcome of that color, including the addition of analogous relationships next to each other on the wheel. Always start matching or plotting a pure color from the outside of the color wheel—this is the pure hue. Finding the correct color or area of color, you can decide where to go from there. For example, if you want to find the complement of the color that you have already plotted, go to the opposite side of the color wheel. You will know the color will work. You can then tint, tone, or shade that hue to get the desired effect.
Terms
Hue: Any color.
Primary Color (Figure 3.4): There are three primary colors. They can be mixed together to make all other colors. Transparent yellow is PY 150 or PY 153. Transparent magenta is PR 122. Transparent cyan is PB 15.
Figure 3.4: Apple Primary Colors
Secondary Colors (Figure 3.5): Colors that are made by mixing together two primary colors.
Figure 3.5: Secondary Colors and a Wheel
Red: Made by mixing yellow and magenta.
Blue: Combination of magenta and cyan.
Green: Mixture of cyan and yellow.
Tints (Figure 3.6): Made by adding white to any hue.
Figure 3.6: Tint Color Wheel
Dual Tone: Pigment that changes hue from mass tone to top tone. In other words, a color that changes as it gets lighter—not just in value, but in its actual color. For example, a brown color that changes to a bright yellow color is a dual tone. Purple that changes from a cool dark to a warm light is a dual tone.
Top Tone: Adding white to a color.
Mass Tone: Color right out of the tube or pure powder pigment.
Undertone: Adding clear media.
Transparent: Dyes are clear—you can see through transparent dyes.
Translucent: Milk is translucent—it can never be transparent by adding a clear medium.
Opaque: Dense, like a small rock—it cannot be seen through.
Classic color schemes will help you to decipher which way to plot a color on the color wheel.
Monochromatic (Figure 3.7): Any single color mixed with white.
Figure 3.7 Black-and-white scale
Analogous (Figure 3.8): Colors next to each other on the color wheel—for example, orange and red or yellow, orange and red, or cyan and green.
Figure 3.8: Dots of Color
Complementary (Figure 3.9): Any colors 180 degrees apart on a 360-degree wheel.
Figure 3.9: RCW wheel
Triadic: Any three colors that are 120 degrees apart on the wheel, usually primary colors.
Split complementary colors are formed like a Y on the color wheel—one color on each side of a complementary color. Opposition, or complementary, pigments make neutral darks. If you mix two opposite pigments, the color will result in a darker hue. This enables the Makeup Artist to work with darker pigments without using black. It is also a great way to mix preexisting makeup when you want to form a darker shade. Because the pigments complement each other, there will be a natural look to your work. The darker pigments will not clash against the skin tone of the person you are working on.
The following outlines the six opposition colors and the neutral darks they will generate.
• Cadmium yellow light and cadmium yellow medium are opposite ultramarine blue (Figure 3.10). Note that yellow darkens to brown. Brown and ultramarine make the neutral dark.
Figure 3.10: Cadmium Yellow Light, Cadmium Yellow Medium, Ultramarine Blue
• Cadmium orange is opposite cobalt blue (Figure 3.11).
Figure 3.11: Cadmium Orange and Cobalt Blue
• Burnt sienna (Figure 3.12), which is a dark orange, is opposite cobalt blue.
Figure 3.12: Burnt Sienna
• Opaque cadmium red light and red dark are opposite cyan (Figure 3.13). Cyan is also called thalo blue.
Figure 3.13: Opaque Cadmium Red Light, Cadmium Red Dark, and Thalo Blue Opaque
• Quinacridone magenta transparent PR122 is opposite thalo green (Figure 3.14).
Figure 3.14: Quinacridone Magenta Transparent Pr122 and Thalo Green
• Purple is opposite yellow green (Figure 3.15). Green oxide opaque is a dark yellow green to be used as the opposition color.
Figure 3.15: Purple Opposite Yellow Green
The chart in Figure 3.16 illustrates how you can combine pigments to produce browns. The chart will also show you how to mix pigments that will give you cool browns or warm browns. Brown neutral tones in makeup are generally complementary to most skin tones, and especially with eye shadow for a more natural look. For natural-looking makeup, a variety of neutral browns flatters and registers well for the camera. Highlighting and contouring with neutral browns has a less harsh effect. In situations where browns register darker on film, staying with neutral browns avoids having your brown registering too dark and unflattering. Remember that what you decide to use is the outcome of the problem solving for the makeup situation you have at the time. What is the skin tone? What is the lighting situation? Is this a makeup special effect? What medium is it? Are you working in theatre, film, television, HDTV, or print? Whatever the situation, knowing
what pigments make brown is a plus.
Figure 3.16: Brown Pigment Chart with Yellow to Brown Natural Oxides, Both Raw and Burnt
The Makeup Artist Handbook Page 4