The Makeup Artist Handbook
Page 13
Figure 7.6 FX Skin Illustrator Palette
Let's look at the three products and how to stipple a beard growth with each.
Kenny Myers, creator of Skin Illustrator: I use a black stipple sponge with varied coarseness and sometimes by hand with round natural bristle brushes in varying sizes.
Occasionally, I've used a dye brush and thumb technique splattering the stipple for an uneven look, then going in and removing obvious blobs. Illustrator is designed to be mixed according to the complexion you are working on. But, I'll often start with a black, white, and yellow mix from the FX Palette and make variations. It's really impossible to give a specific formula or even percentages since mixing is an individual painter's eye and art. But I would always start with black as the base tone then mix in bits of yellow, blue, and white to give that blue or green cast that beard stubble can have. Adding in additional colors is for fine tuning to suit an individual. Varying opacity and building layers rather than trying to do it in one shot (always a mistake-unless you want it to look fake) is the best approach (Figure 7.7).
Matthew Mungle: Apply GBB Beard Stipple using different densities of beard stipple sponges (black beard stipple sponges) or thinned down liquid StaColors with 99% alcohol and airbrush using a splatter technique. The airbrush can be purchased through bearair.com, including Combo kit with compressor and Paache H brush with #3 nozzle (Figure 7.8).
Fred Blau, founder of Reel Creations: Using the cover-up effects palette and depending on the color, I usually use browns mixed with black. I use a coarse, plastic wire-type stipple sponge, and cut the hard edges off to make a semi round surface. The sponge should be about two inches. When stippling, don't try to cover large areas at once.
Dip sponge into the color then test on another surface. When density is good, you might get two to three hits on the face. Yes, it is time consuming but it works and it lasts.
If you have any heavy deposits, use a Q-tip dipped in Reel Developer (99% isopropyl alcohol), and touch the glitch once for a couple of seconds, and then turn over the Q-tip and touch again; this should lift the color. Do not rub! It will smear and ruin the look.
If you have any dark areas, you can use the same type of sponge and counteract the beard stipple with a flesh-tone mix (Cover-up Effects Palette). Stipple lightly on the heavy areas and the beard will lay down to match the desired shade. This is also a good technique for a salt-and-pepper look.
If you choose to use Reel Body Art instead of the palette, it is a good idea to pour the colors into a wide lid (i.e., pancake lid, one for each color). Let it thicken or dry. Then use the same technique as with the palette. Do not be afraid to lighten (density) color using some Reel Developer.
Figure 7.7 StaColor Palette
Figure 7.8 Reel Creations' Reel Color Palette
Stipple sponges are stiff sponges made in different textures used in makeup to create a variety of shapes and textures (Figure 7.9).
Figure 7.9 Illustration of Textured Stipple Sponge
Stipple sponges can also be made from regular cosmetic sponges by tearing a desired number of holes into the sponge. This will create texture (Figure 7.10).
Figure 7.10 Making a Cosmetic Sponge into a Stipple Sponge
Favorite adhesive to use for chopped hair applications: Extra Hold Matte Adhesive.
Sun Protection
Everyone needs sunblock to protect their skin from the damaging effects of the sun. Makeup Artists should apply sunblock before a makeup as well as during the course of the day when filming outdoors. It needs to be reapplied to protect the skin through all daylight hours. You have a certain responsibility to ensure that your actor does not burn while filming or shooting outdoors. It also makes your work a lot easier if you take the time to protect the skin. Covering burned skin is a drag; it's time-consuming and painful.
The SPF (sun protection factor) can be misleading and manufacturer claims are not always accurate. Example: Waterproof sunblock has to be reapplied after getting wet or out of the water. The labels have now been changed to “water resistant,” but there are still products floating around with old labels that say “waterproof.” When in doubt, reapply. SPF products with a number larger than 30 have not been proven to have any more protection, experts say. Another misleading assumption is that a sunscreen or sunblock with an SPF 30 has twice the protection of a SPF 15: not so. SPF 15 blocks out 93% of the sun's rays and SPF 30 blocks out 97% of the sun's rays. Ultraviolent B rays cause damage to the surface of the skin such as burning, tanning, and other skin damage. UVA rays penetrate the surface of the skin and damage the connective tissue. UVA long-wave protection ingredients include avobenzone, zinc oxide, titanium dioxide, mexoryl sx, tensor, and helioplex (a stabilizer). Sunblocks come in creams, lotions, gels, sticks, and sprays.
A MUST HAVE: Broad-spectrum sunblock that blocks both UVB and UVA rays.
For the face, try Neutrogena Ultra Sheer Dry Touch Sunblock in SPF 55. It works great under makeup base, feels good on the skin, and it's non-greasy and water resistant.
For the body, try Neutrogena Body Mist Sunblock SPF 45. This spray goes on beautifully and is ultra-light, non-greasy, water resistant, and great for on-set touch-up or reapplying; and feels clean on the skin. You can spray it right over your makeup.
Makeup Safety Tips
Makeup and applicators should not be shared. Use certain safety standards when working. Wash your hands in between working on each person. If a sink is not available, use hand sanitizer, or hand wipes. Always remove cream products and foundations from their container with a palette knife and place onto a makeup palette or artist's paper to use for each person. Use disposable mascara wands and applicators. Cut off lipstick from the tube and place on your palette to be used off the palette only. Clean brushes after each use. Sharpen all pencils before and after using. Clean lipstick brushes with 99% alcohol. Use sponges and puffs on one person only.
Industry Standards: Stainless steel palette, artist's paper palette, Japonesque makeup palettes, stainless steel palette knife, 99% alcohol.
Product Update
Skin Illustrator has added the following five palettes to its product line, making your creations much easier:
Dark Flesh Tone Palette: Designed as the follow-up to the original flesh tone palette, the dark colors complete the entire range of flesh tones (Figure 7.11).
Figure 7.11 Skin Illustrator Palette, Dark Flesh Tone
Complexion Palette: This palette was created to give artists a wider range of red tones and adjusting colors that allow fine tuning of an appliance makeup or to help blend the appliance with natural skin tones (Figure 7.12).
Figure 7.12 Skin Illustrator Palette, Complexion
Alchemy Palette: Enhance pre-existing tattoos or create your own with these amazing colors. You've never seen such stunning metallics as these (Figure 7.13).
Figure 7.13 Skin Illustrator Palette, Alchemy
Zombie Palette: Every combination you need to color the dead (Figure 7.14)!
Figure 7.14 Skin Illustrator Palette, Zombie
Grunge Palette: Simulates a variety of dirt, grime, and filth effects, and can be used to re-create the look of almost any dirty or soiled visage (Figure 7.15).
Figure 7.15 Skin Illustrator Palette, Grunge
References
Habif, T.P., Clinical Dermatology. third ed (1996) Mosby, St. Louis.
Internet Resources
Blau, F., Beard stipple with Reel Colors, www.reelcreations.com.
Dean, R., Rdean1028@mac.com.
Mungle, M., Beard stipple with StaColors, www.matthewwmungle.com.
Myers, K., Beard stipple with Skin Illustrator, www.ppi.cc.
Sunscreen index, www.consumersearch.com/www/family/sunscreen/index.html.
Sun protection and suncreens, www.medicinenet.com/sun_protection_and_sunscreens/pg2.html;www.medicinenet.com/sun_protection_and_sunscreens/pg3.html.
Sunscreen review, www.comsumersearch.com/www/family/sunscreen/review.html.
Tinsley, C., Tattoo
cover-up, www.tinsleytransfers.com.
8. Design
Makeup Design, HD Live, Motion Capture and 3D, Inspiration and Presentation, Blocking out Eyebrows, Aging, Temporary Tattoos, Contacts, Veneers
Makeup accessorizes the character's look, mood, and style. We put the finishing touch on the actor's exterior to match the interior performance and to bring the character to life. This enables the actor to focus on the performance and not the look, and to become the character. Many times you will feel the actor start to transform before your eyes as the makeup application progresses. They are looking into the mirror and seeing the physical appearance matching the interior of their performance/character, and their body language begins to change. At this moment, both actor and artist know the makeup design (and application) is working. You know you have been successful in developing the character.
In film, every makeup begins with the text of the script. Makeup is one of several languages used to elaborate and illustrate text. Based on the text, we make all sorts of decisions: the character's physical well-being, social and financial status, level and condition of vanity, and inclination to spend time in front of the mirror. At the point the actor or actress enters our lives; his or her analysis of the same textual information meets our own. Add to this their personal needs, physical condition, areas of insecurity, and physical strengths, and we are nearly ready to put brush to skin.
—Richard Dean
We explore, examine, research, discuss, collaborate, and meet with the director, actor, costume designer, production designer, cinematographer, and the producers. From our breakdown of the script, design meetings, production meetings, and sidebar meetings, we begin to test the looks. This is the prep period of the schedule: the months, weeks, or days (for prosthetics, the prep time is much longer) before filming begins, for both film and TV.
For photography, the design is based on conversations with the photographer, art director, and client. There could be several days to create a design or look, or just one day. It is a by-project situation, with amount of time, research, and designing per job varying greatly. From exotic, very stylized fashion to natural, to designing the look and makeup for runway collections.
Personal shoots and beauty stories can be stressful; everyone is counting on the creativity of the Makeup Artist. I love the work and the preparation behind it. Before you start to design, get as much inspiration as possible. The internet is one place, but for me it is mostly books and paintings. I love to work with color, so before I think about my makeup, I think about all the colors that will be used and what atmosphere or feelings those colors will cause to come across. Once the colors are fixed, I start with the effects; shiny or matte, graphic or shady, simple or complicated. Try to prepare as much as possible, but remember that a lot of inspiration comes when you first see the model in your makeup chair.
—Daniela Eschbacher
Theatre has its own prep or rehearsal period, where designs and makeup are worked out in technical and dress rehearsals onstage with lighting and costumes. There is the same collaboration with the director, costume designer, and lighting designer—and, you hope, a chance to see your makeup “from the house” with the lighting plot and production design. This is the time to see the makeup designs from the perspective of the audience or “from the house.” Viewing should be done from all areas of seating, from the front row, middle and sides of the orchestra, and back row and balcony sections to judge and gauge how the designs are “reading” to the audience. Note the sections that “read” the best, the least, and/or diminished the quality of the makeup design.
It is generally a standard in theatre or opera to work from the vantage point of the “middle of the house.” With each theatre being a different size and capacity, you adjust your work accordingly.
Working for the “middle of the house” allows the maximum number of people in the audience to see the makeup. If you work for the back reaches of the house, the makeup will be too heavy for the seats in the front rows. If you work for the front of the house, your makeup will not be seen by anyone seated past the first few rows. So you split the difference and go for midway range.
Dive into the historical aspect of the play through both text and pictures. What social status do the characters have? Where in the world (or elsewhere!) is the play set? Who is “good” and who is “evil”? Who is related to whom? Are they similar or not? Should you stylize the look or keep it normal? Is the play based on a “real” person? How does the actor's age differ from the character's? From all of these questions and many more … you will start your design.
—Lars Carlsson
Theatre and opera also must make adjustments for HD filming during the performance. The use of live broadcasts and videotaping of the performance have altered the products and style of makeup used for stage, and has lessened the theatricality of the makeup. In most cases the filming is done only for specific performances; so the adjustment to makeup is done only at this time specific to the filming. Some companies will bring in various artists to consult and assist in the adjustments of the makeup designs, as there will be a film crew integrating with the theatrical crew.
HD Live
With Matiki Anoff
Matiki Anoff is a film Makeup Artist who adapts stage performances for filming and live broadcasts using HD cameras. This has opened up the arts and given audiences all over the world a chance to see a performance in real time. HD filming of a stage performance brings its own set of challenges. In the beginning, the performers and stage crews were uncomfortable with the invasion of the cameras, the camera crew, and the entire setup. Live broadcasts involve an entirely separate film crew and production company from the stage crew and company. As the practice has become more standard, a collaborative environment has evolved. Remember that you have been invited into an existing working relationship for your film expertise and need to work with the staff to adapt the theatrical designs for HD. The biggest challenge in adapting a theatrical design for HD filming is acclimating the performers to the look and feel of HD makeup. The products are different so the texture and feel are not the same and the broad strokes of a theatrical makeup are not there. This can be unsettling to a seasoned performer who is accustomed to the theatrical application.
Opera is the one medium that hires for vocal talent only, with no regard to ethnicity or physical appearance. The performers are so used to being theatrically made up to look younger, older, different ethnicity, or otherworldly, that they feel naked without the mask of theatrical makeup.
For both theatre and opera, the first step is seeing a “tape” of the performance. The film crew works from this first tape to become familiar with the production, including staging, lighting, and costumes. The film crew starts its design and adaptation for the cameras here. Next is meeting with the theatrical makeup department at this point to discuss what colors they used in their design and any needs or other information regarding the design of the show.
Next a “scratch taping” is done by the film crew during a dress rehearsal to check all elements and design. This “scratch tape” is used to perfect the look of the broadcast, which is particularly important in a live broadcast, making adjustments in their camera angles, lighting, makeup, and choices of shoots in preparation for filming.
The products, techniques, and approaches are different, so remember that there is also a learning curve for the performer. Many times they need to see the scratch tape to feel comfortable with how they look and how the design looks on HD.
It is very rewarding work for a film Makeup Artist to adapt a theatrical show for HD filming. The one common thread is … contour, contour, contour!
Pro Tip
Sit in all sections of the house during the rehearsal process to judge your work and gauge the “readability” of the makeup from all perspectives, including the balconies.
Motion Capture and 3D
Motion capture, motion tracking, or mocap are terms used for the process of creating a 2D
or 3D representation of a live performance. Mocap records the movement of the actor and translates that movement onto a digital model. The actor wears a mocap suit and head gear with sensors to record the movement pattern that is entered into the computer through the sensors. Facial dots are applied for facial tracking. These mocap dots need to be applied and maintained by the makeup department with consistency in placement. Each situation will be unique in terms of makeup department needs and you will need to communicate with the visual effects producer or designer regarding what is needed from the makeup department. In some cases the visual effect producer will ask for a makeup design and the application of the makeup to be done on the actor before applying the mocap dots to assist in the final look. In other situations you will apply the mocap dots on a clean face with special paint developed for mocap and 3D filming. Vauform face masks are prepared for each actor for the daily application of the mocap dots.
Mocap and Makeup
Mocap is a rapidly evolving science utilizing teams of people. Each film will have a different set of challenges and each visual effects company (VFX) will have their own style and unique needs.