If the photographer or client cannot express the type of makeup and colors they want, it is up to me to find the right look. Working in fashion is different than cinema, it can be more spontaneous. Even if you have agreed on a certain look before shooting, it could all change on the actual workday.
On larger, more complicated shoots there are meetings before the job. It is really helpful working with the art director or stylist, as they know the overall image. The stylist knows the clothing, so they can give more direction and the theme of the shoot. Sometimes a simple makeup works better than one too sophisticated or creative.
—Daniela Eschbacher
Eyebrow Blocking
Changing eyebrow shape is a wonderful and powerful tool to developing and designing a character. The eyebrows frame the eyes, the windows to the soul, making them very influential on the focus of the facial features. Block out the eyebrows to completely alter a face or show “period” (for example, Victorian England). As with all makeup, it can be a very subtle or extreme block.
Three Techniques
Adhesive Block: To block out the brows, choose an adhesive that is easy to remove (see adhesives under product information). Spirit gum or resin-based adhesive works well. It is easy to remove, dries fairly quickly, and comes in different grades of matte formulas.
1. Apply the spirit gum, brushing into the brows to lay flat and smooth against the skin.
2. Using a soft cloth or powder puff wrapped in nylon, gently press and roll the brows until the adhesive looks matte. (Leather shammies or nylon or silk fabric works best with spirit gum, because they do not stick to the adhesive.)
3. When the adhesive is dry, apply a sealer over the top of it.
4. Apply foundation, choosing one that fits the character's skin tone, with full coverage and staying power.
Removal: Use alcohol or spirit gum remover.
Wax Out: Eyebrow wax comes in several degrees of hardness and many brands to choose from. We use KRYOLAN's eyebrow wax.
1. Apply wax over the eyebrow with a spatula, blending the edges into the skin.
2. Cover the brow with a sealer. Dry.
3. Finish with the correct foundation color.
Combination: Combine the spirit gum and wax for more hold and block.
1. Apply spirit gum, brushing into the hair against the skin.
2. Let dry, and follow with an application of eyebrow wax.
3. Apply sealer.
4. Apply foundation.
Appliance Block
Eyebrow appliances will give you a total block, but you must be able to blend the edges for successful application. They are applied directly over the eyebrows. Plastic-based products are easier to work with. Here we use KRYOLAN's eyebrow plastic.
Making the appliance using KRYOLAN's plastic, take a round object (such as an orange or grapefruit—they both give a nice texture) to simulate the pores of the skin.
1. Apply on the fruit a thin layer of plastic that is slightly larger than the eyebrow area and shape. Let dry.
2. Reapply a second layer. Let dry.
3. Powder with no-color powder. Lift off the fruit.
4. Apply eyebrow wax to brows to flatten.
5. Press with clean powder puff; there should be no powder or talc on the puff.
6. Apply spirit gum around the edges of the brow.
7. Lay the plastic appliance on top of the brow, being careful not to fold or crease the edges.
8. Secure and glue down the plastic. Go around the edges with alcohol to blend the edges.
9. Apply foundation of choice, and then powder it.
Pro Tip
To prevent the eyebrow hair from “bleeding” up though the plastic, lighten the hair with tattoo paints or Roux 'Tween Time Color Stick, by Revlon.
The complete removal or shaving off the eyebrows sometimes is the best and only choice in certain situations. This is a design choice that affects not only the overall design but the budget, casting requirements, and the actor's personal life. There can be additional compensation to the actor for shaving off their brows, the costs of lace brows to wear when not filming, and the added burden to the casting directors to cast actors who will agree to remove their brows. This choice does not come lightly; there is much discussion and testing before making this kind of decision among the director, producers, casting agents, and actors.
Lift Off
The “Traynor Lift” is a beauty device used by Makeup Artists for stage, film, and TV to give a youthful look to the face. Mark Traynor Face and Neck Lifts and Isometric Beauty Bands are used on both women and men for beauty, glamour, to reverse aging, and in character makeups (think Tootsie, drag queens, transvestites).
The “lifts” eliminate lines around the eyes and mouth, and help give a smooth, firm look to the jawline and neck. They tighten the skin and lift the eyebrows. Many times you will use them in tandem with a wig, but lifts can also be used without a wig. The hairstylist will work with you to incorporate the lifts into the hair style or wig. They are fantastic for projects where the same person goes through several decades of aging. You would use “reverse age,” current age, and old age to show the passage of time (Figure 8.7).
Figure 8.7 A, Traynor Lifts. B, Traynor Beauty Bands
Mark Traynor's lift package consists of two pieces of hypoallergenic surgical tape attached to two elastics, one of which has eyelets on it for adjusting the tension. To apply the lifts, the pull is very important. Start with a clean face, and decide on placement of lifts before doing any makeup. At some point nearing the completion of the makeup application, you will stop doing makeup and attach the lifts. This ensures that your placement of makeup is correct. Once the lifts have been attached and the skin is tight and smooth, complete your makeup. The eyebrows should be done last, when the lifts are in place, to get the proper shape.
1. With the person sitting (clean face), looking straight into the makeup mirror, stand directly behind your subject. Placing your fingers at the hairline, pull to see where the lifts should be placed. You must work off the mirror image. Check the pull by adjusting your finger placement. See where it looks too tight or just right.
2. Clean the area with alcohol to remove natural oils. Let dry.
3. Apply the tape to the prep area. In some climates, you can also add a medical adhesive to the tape for extra holding power.
4. Gently place the elastics to the side or back of the head, with a clip to get them out of the way for makeup application. You are not attaching the elastic yet.
5. When your makeup application is almost complete, attach the elastic. You should work with the hairstylist at this point, to coordinate elastic with hair style.
6. Finish the makeup, and check for any adjustments that are needed. Always follow all manufacturers' instructions.
Old Age
Your knowledge from previous chapters on shapes (Chapter 1), the body (Chapter 2), and highlights and contours (Chapter 6) are needed to guide you in aging a character. We can add age to a character by painting in lines, age spots, broken capillaries, graying the eyebrows and hair, hollowing out the features by using highlights and shadows, adding fine lines, and giving an old-age texture to the skin. Texturing the skin is the finishing touch to complete your aging. Otherwise you will have painted wrinkles on smooth skin not selling the effect of the wrinkles. Each face will tell you how and where to create the look of aging. Using family genetics is a great trick in creating aging. Ask your actor for a photo of a parent at the age you are re-creating; doing so will give you a blueprint on aging specific to their genetics (Figure 8.8).
Figure 8.8 A, Asian Father and Son. B, Caucasian Mother and Daughter. C, Caucasian Father and Son
Have your model raise and lower each section of the face that you are painting to find the lines (see Chapter 2). Using a medium brown with a fine-tipped makeup brush, paint in the line where the wrinkle forms. For very subtle aging, use a taupe brown. If a heavier line is needed, blend the top edge out and l
eave the lower edge of your line hard (unblended); this hard edge will recede the wrinkle further. Practice and work out your aging on as many models as you can at various ages. Review Chapters 1 and 2 before starting your aging exercise; we will not be giving you step-by-step instruction on aging since each aging makeup will be unique to the individual.
How We Age
Age 20
At twenty the facial appearance is lean with a deeper nose bridge. There is less softness in the cheek area, jaw line is firm, neck muscles are stronger and skin texture is thicker (Figure 8.9).
Figure 8.9 Face Chart, Age 20
Age 30
At thirty the eyes become deeper set. Early wrinkles start to appear around the outside corner of the eyes and forehead. The jaw line becomes a little fleshier (Figure 8.10).
Figure 8.10 Face Chart, Age 30
Age 40
At forty the wrinkles become more pronounced. The chin and jaw line begin to sag with flesh developing around the neck. Hair becomes thinner (Figure 8.11).
Figure 8.11 Face Chart, Age 40
Age 50
At fifty the front hairline thins. The upper lid begins to sag and the cheek bones protrude. Wrinkles become deeper and the flesh under the jaw line drops towards the neck. Neck wrinkles become apparent (Figure 8.12).
Figure 8.12 Face Chart, Age 50
Age 65
At sixty-five the eyebrow hairs become more untamed. Features on the face such as the nose and ears seem to become enlarged. You can see tiredness in the face. Folds of the face are deepening with the skull becoming more apparent (Figure 8.13).
Figure 8.13 Face Chart, Age 65
Age 80
From the age of eighty on the face ages considerably. There is considerable sag to the upper eyelids with deep wrinkles. The skin is thin and fragile looking with the lips receding into the mouth. Bone loss or teeth missing gives a bony look to the face. The hair is super-fine and receding (Figure 8.14).
Figure 8.14 Face Chart, Age 80
Painting Old Age in Theatre
Gerd Mairandres first considers what is to be communicated about the character when designing an age makeup. For example, the sex, age, health, ethnicity, and social standing all influence the character's appearance. Is the time now or in the past? Two elements should be considered: choice of foundation, as complexion goes to all the previously mentioned points; and the character's hair, as gray or degrees of gray can contribute greatly to the appearance of age.
If the character is male and if it's appropriate for the time and place, the character may have facial hair. This can often help break up the smooth skin appearance whether it's applied facial hair or stipple.
It's vital to consider the actor's physiognomy. The makeup has to move with the actors facial expressions. Shading should follow the natural planes of the face and should follow the laws of gravity. When a face ages, the muscle structure relaxes and sags set in. Features to emphasize with “sags” may include eyes (a droop in the lid, the corner of the brow, the under-eye), the cheek area near the bottom of the nose (nasal labial folds), the corners of the mouth, and the jaw line, as well as a general deepening of the hollows created by the bone structure. Sometimes it's effective to stipple over the makeup to help create the illusion of skin that is not smooth (Figure 8.15).
Figure 8.15 Theatre Age Drawing.
Courtesy, Gerd Mairandres
When applying lace facial hair pieces for an age makeup, it is sometimes effective to deepen the shading that is to be covered by the appliance, especially if the facial hair is sparse, still allowing the facial anatomy to show through (Figure 8.16).
Figure 8.16 Old Greek Woman, Chart
Aging Using Stretch and Stipple
Many times the painted technique of aging is not enough to achieve the age needed. In this situation, the professional Makeup Artist should know how to do aging using the stretch and stipple technique. This is a very simple technique using three-dimensional appliances to achieve wrinkling and aging of the skin. We are going to tell you how to do stretch and stipple with two different products. Basically, the technique of stretching is the same with both products. The key to stretch and stipple is how you stretch the skin to get realistic-looking wrinkles. There will be times that you will be asked to do this without any preparation, so having the skills and products for stretch and stipple will allow you to work directly out of your kit, at a moment's notice.
Note: The information contained in the following sections is presented in good faith. The responsibility for the use of any material in special makeup effects rests solely with the user. The authors assume no responsibility for the use, or misuse, of any material, technique, or the informational content discussed here.
Green Marble SeLr Aging Technique
By Richard Snell and Kenny Myers, reprinted from Premiere Products Inc. (www.ppi.cc)
Green Marble SeLr is often used as an aging product. The results are subtle and effective. A technique called stretch and stipple (or stretch and brush) is used in the aging process. These procedures were refined by Douglas Noe during a particularly brutal summer while filming in Atlanta. To mix Green Marble into an ager, you must use Green Marble SeLr concentrate and Attagel (clay powder used in facial masks).
Very important: Do not use this technique with the spray Green Marble SeLr.
Recipe
One ounce of Attagel to six ounces of Green Marble concentrate still works well as a fine line wrinkler when used lightly. This formula also works for lighter applications or where texture change is all that is needed. You might want to custom blend the recipe to get a desired effect for different areas of the face.
• 1 to 3 oz.—Heavy ager on most skin types
• 1 to 4 oz.—Medium heavy
• 1 to 5 oz.—Medium light
• 1 to 6 oz.—Light ager on most skin types
Your makeup kit for stretch and stipple with Green Marble Concentrate:
• Kleenex
• Puffs
• Sponges
• Towels
• Hair dryer
• AF thinner (RCMA)
• Assorted makeup brushes
• Cups, Q-tips
• Cotton pads
• Kiehl's blue astringent
• Flat white synthetic brushes (3/8, 1/2, 5/8, 7/8, 1 inch)
• Cape
• Skin Illustrator Color Palettes
• Makeup remover
• Eyewash drops
• Moisturizer
• Hand sanitizer
• Powders
• Hand fan
• Green Marble SeLr Concentrate
• Chubs
• 99-percent alcohol
• Telesis 5 Thinner
Prep the Actor
Remove any fine hairs from the actor, and lightly wipe the face with Kiehl's blue astringent (product of choice) or witch hazel. To prevent lashes from sticking while you work, apply AF thinner to lashes with a mascara wand before you begin. Recline the actor in a chair for easier working conditions. An upright position is perfectly fine also. You might find yourself doing both throughout the process.
The Methods
Use a flat white synthetic bristle brush (between 3/8 and 1 inch in width), depending on the area being aged. The application changes only with the tools you use to put the SeLr to the skin. Have your brushstrokes complement the directions of the wrinkles. One to four layers, and up to as many as nine layers, can be used to get the desired effect. Stretch the area being stippled. While still stretched, apply SeLr concentrate ager with a brush, complementing the directions of the natural wrinkle. While the skin is still stretched, powder the area just done. Now release your stretch. Repeat the process until you have the number of layers desired. If possible, for multiple layers and if you can hold the skin that long, try not to powder in between layers. This will enhance the finished look. But whatever you do, don't let go of the skin before your final stipple and powder are applied. Use a
hand fan while working to keep the fumes away from the actor and to encourage the drying process of each layer. A hair dryer can also be used on a cool low setting. When aging an actor, don't get too close to the mouth or nasolabial area. Too much buildup of product will only cause you to have constant repairs because this is a very mobile area. Remember to keep your fingertips powdered at all times.
The Makeup Artist Handbook Page 15