Care of Acrylic Veneers
Gently rinse under cool tap water, and store in the case provided for each set. Add a small amount of mouthwash in the case to keep them fresh tasting.
Things to know as a Makeup Artist working with veneers:
• You will need to work wearing latex or non-latex gloves.
• Ask if the person has an allergy to latex, and what flavor preference they have for mouthwash. Mouthwash helps to keep the veneers fresh, as well as being great for a fast rinse on-set if needed.
• You will be putting in, as well as taking out, the veneers. Always wear gloves. This is also necessary on-set. Sometimes the actor will want to do this, but there are always moments when the Makeup Artist must be prepared to do this.
• To help the actor adjust to something on their teeth, they need to get the feel of them. Have them wear the veneers well before going on-camera to give them time to forget them. This also helps with their speech. At first, they might sound a bit different, but this goes away when they forget that the veneers are on. You will need to do this only for the first few days of use. The actor will quickly get used to them, and not need to put them in early. Soon you will be popping the veneers in on-set!
On-Set Touch-Ups
On-set, you will need to bring with you:
• A dental case: the veneer case for each pair of veneers working
• Latex gloves
• Non-latex gloves
• Bottle of mouthwash
• Bottled water
• Paper towels
If you need to remove veneers on-set, put gloves on and remove the veneers, placing them in a paper towel or directly into their case. Sometimes you have to be the one to actually remove the veneers from the actor's mouth. The actor can't do it. Regardless of who takes them out, they will need to be rinsed and stored properly. Ask the actor to please not drink hot coffee or tea while wearing veneers.
Bald Caps
Bald caps are used in character design to show old age, illness, receding hair lines, aliens, creatures, fantasy, and photo or stunt double for a bald actor. You could go years without the need for a bald cap, but you should know how to apply one. You will need several practical applications to be proficient at applying a bald cap. Head prep, where and how you place your edges, gluing and blending of edges and final coloring of the bald cap are key to a successful bald cap.
Michelel Mulkey on Bald Caps
When it comes to bald caps, the question most Makeup Artists face is what kind of bald cap to use. The choice between vinyl and latex both have their pro and cons, so the decision should be made based more on what the actor or model will be required to do while wearing the bald cap.
If the actor will be doing little movement throughout the day, such as a photo shoot or lying in a hospital bed, then a vinyl cap is probably the best choice. Vinyl caps will often appear seamless with very little work from the Makeup Artist due to the fact that the edge of a vinyl cap can be melted into the skin with a small amount of acetone. This will often save time on set since little to no Bondo-ing will be required for the edge of the cap. Another benefit to using vinyl bald caps is that you can use any type of makeup to color the cap without jeopardizing the bald cap's integrity. If the talent will be required to do a lot of movement or acting in the bald cap throughout the day, then a vinyl cap may not be the best choice. The downside of a vinyl cap is that it is basically a thin piece of plastic. If you stretch out a piece of plastic then let it go, the plastic will stay stretched. This is also true of a vinyl bald cap as the actor moves around. As the cap stretches, it will start to form buckles in the material around the base of the neck, back of the head and the edges. This can quickly kill the illusion you have just created by applying the bald cap.
If the actor is required to do a lot of movement throughout the day, then a better choice in this situation is a latex bald cap. Latex caps are made out of rubber; it has both elasticity and memory. If you stretch out a rubber band and then let it go, the rubber band will return to its original shape. Latex bald caps work in much the same way. As the actor moves, despite the stretching of the latex, the cap will return to its original shape with little or no buckling around the back of the cap or the edges. The down side to using a latex cap is that, to date, there is no product strong enough to melt the edges, yet safe enough to use on the skin without causing irritation or burning; therefore you must Bondo the edge of the latex cap to blend it seamlessly into the skin. Bondo-ing the edges will take more time, so the Makeup Artist must plan accordingly for this added step when estimating the application time for production.
Another downside to using latex caps is that you must use a latex-friendly makeup, Rubber Mask Grease Paint (RMGP) to color the cap. Some ingredients in regular makeup, as well as certain hair products, can compromise the integrity of latex, causing the cap itself to split or rip during application or filming.
Bald Cap Prep
Prepping the actor for the application of a bald cap is the same regardless of what type of bald cap you are using. You need access to the entire neckline and face, so it is best to request in advance that the actor wear an article of clothing that allows for full access to the neck and buttons down the front. Remove all jewelry. In some situations you will need to shave the skin at the nape of the neck; check the nape hairline for this.
1. Unfold the cap and remove any residual powder with a small amount of water or 99% alcohol.
2. Clean skin around the hairline with a small amount of 99% alcohol on a cotton pad.
3. Wet the hair with water and comb hair flat to the head. You can also use hair products like Hair Slick or Gafquat in the hair to smooth the hair flat to the scalp. Note that these products will dry hard and can give a texture or ridge to the hair under the cap which will make the cap appear “not smooth.” For long hair, you will need to place the hair in a pony tail or wrap the hair in a circular direction around the head to flatten it. The hair prep is very important; you want the hair as flat to the head as possible without distorting the actor's head shape (Figure 8.35).
Figure 8.35 Bald Cap Prep
4. Place the cap over the head, starting at the forehead and pulling down to the nape, making sure the cap lies flat against the nape of the neck. With vinyl caps, there is usually a lot of excess cap material over the face area. Trim excess portions of the cap, making sure that the face and the eyebrows are exposed. If you have determined that you will be attaching the cap over the eyebrows, you would trim the cap below the eyebrows at the upper eyelid (Figure 8.36).
Figure 8.36 Bald Cap Trim
5. Create an anchor point for the front of the cap by pulling up the cap at the center of the forehead and applying Pros-Aide.
6. Create a second anchor point at the back of the cap by pulling up the cap at the back center of the nape and applying Pros-Aide. Place Pros-Aide on both sides of the pony tail (if one was used) or across the base of the neck for short hair (Figure 8.37).
Figure 8.37 A, Bald Cap Anchor. B, Bald Cap Anchor.
7. Cut around the ears using a makeup pencil, and round-tip scissors. Start at the top of the ear and mark a circle on the cap with the top of the circle starting about one-fourth inch from the top of the ear. The circle should be about the size of a quarter. Then draw a line straight down from the bottom of the circle to the edge of the cap. Use the round-tip scissors to cut straight up the line and cut out the circle. Additional trimming may be needed to ensure that there are no wrinkles in the cap around the area (Figure 8.38).
Figure 8.38 Cut and Draw Ear
8. Starting at the back anchor point, apply Pros-Aide from back anchor to just behind the ears on both sides. Then, apply Pros-Aide from the front of the ears to the front anchor point on both sides.
9. Once the bald cap is glued down the entire way around the cap, gently lift the cap out of the glue and trim the edge of the cap to within approximately one-fourth inch from the hair line. As you trim off the excess cap, pre
ss the remaining edge into the glue (Figure 8.39).
Figure 8.39 A, Remove. B, Press
10. Blend the cap edge using a small amount of acetone on a cotton-tip applicator; when working around the eye area you must protect the eyes by covering them with a powder puff or cotton round at all times. Note: If there is still an “edge” after using the acetone, use a small amount of Bondo to fill in the remaining edge (Figure 8.40).
Figure 8.40 Protect Eyes
11. Apply a thin layer over the entire edge of the bald cap to the blend and ensure that there is no lifting on the edges (Figure 8.41).
Figure 8.41 Blend Edges
12. Once the Pros-Aide is completely dry, powder.
13. Stipple a thin layer of fixer spray or sealer over the edge of the cap with a textured white sponge.
14. Color the cap. For vinyl, you can use any type of makeup or foundation. For latex caps you need to use Rubber Mask Grease Paint (RMGP) or a latex-friendly makeup to ensure the integrity of the cap (Figure 8.42).
Figure 8.42 Final Bald Cap
For additional information with DVD instruction, see Edward French's instructional DVD (www.edwardfrench.com). It's an excellent source for the demonstration and application of bald caps. Ed gives great information and instruction, and it is fun to watch. We feel you will greatly benefit from a visual lesson as well as the text lesson in this area.
References
Corson, R.; Glavan, J., Stage Makeup. ninth ed (2001) Allyn and Bacon, Needham Heights, MA.
Cole, H.; Burke, K., Costuming for Film: The Art and The Craft. (2005) Silman-James Press.
Internet Resources
Archer, G., Dental prosthetics specialist for film, dental/teeth information, G.A. Enterpriseswww.gaenterprises.net.
Carlsson, L., Makeup-FX Company, www.makeup-fx.com.
Dean, R., [email protected].
French French, Ed. BALD CAP, The Instructional Videowww.edwardfrench.com.
Mark Mark Traynor Lifts and Beauty Bands. Huston [email protected].
Myers, K, Green Marble Stretch and Stipple, Premiere Products, Inc.www.ppi.cc.
Mungle, M, www.matthewmungle.com.
Patterson, C, Professional VisionCare Associates, contact lens information.www.fx4eyes.com.
9. Hair
In the film and television industries, the Makeup Artist is responsible for anything that is applied to or glued onto the face, including facial hair and sideburns.
IATSE Local 706's general definition of Makeup Artists: “Makeup Artists perform the art of makeup, which includes:
Application of all moustaches, chin pieces, side burns, beards, false eyebrows and lashes.”
There are many professionals who do not feel that hair experience is necessary in today's market, because Hollywood has become so specialized. We disagree, and feel that in order to be a professional Makeup Artist working in film and television, you need to learn the skills for working with facial hair. If, at some point in your career, you choose to not polish these skills or to not use them, and prefer to “hire out” or not accept jobs requiring these skills, that will be your option. Not learning to work with facial hair will limit you. Until you have the working experience to know what your forte is, you will need experience and exposure to all areas of makeup artistry. So, learn all the skills that are required to be a professional Makeup Artist before deciding what suits you. Having a working knowledge of all aspects of your field not only makes you a well-rounded professional, but is extremely beneficial during conversations with producers and directors on how to create certain looks. It is not uncommon today to “hire out” jobs that require a high level of skill and expertise; it saves time and money to have the best. Early in your career, you will be hired for jobs in which there is no available budget to “hire out” specialists, so the producers will hire a makeup department that can handle all the makeup needs. This is an example of what can happen if you do not have all the skills required to be a professional, especially at the beginning of your career. You most likely will be working on projects that have small budgets and cannot “hire out.”
Remember, Makeup Artists who specialize have done so after achieving a level of experience in all areas, prior to specializing in an area of makeup design that is their forte or passion. It is in your best interest to learn all of the skills required to become a well-rounded Makeup Artist before deciding if you want to specialize in a given area, or that a particular area of makeup design is not for you. Doing so will give you a more complete education, and the essential background experience that you will need in the film and/or television industries.
Most department heads will hire a Makeup Artist who is skilled in everything, so they do not have to worry about the makeup designs that you are assigned. For example, there will be moments when an actor shows up in the morning and has accidentally shaved off his moustache or has changed the shape of his sideburns. In this instance, your film continuity will not be affected because you are able to fix the problem by laying hair or applying a lace piece. As a well-rounded Makeup Artist, you will have the skills and resources to take care of the situation—not to mention that the actor will be relieved and pleased by your ability to fix the problem. Accidents do happen.
Erwin H. Kupitz is a Makeup Artist and wig maker. He trained in a classic German apprenticeship, which included a unisex hairstylist license, makeup artistry, and wig making for five years, with three examinations and one final examination. Unfortunately, there is no longer an apprenticeship program of this magnitude in the United States. This is a wonderful method of training because the learning period is long, and the practical experience is invaluable. Erwin specialized when he emigrated to the United States, after seeing the need for wig making and facial hair experience, and recognizing that Hollywood had evolved into an industry with specialization in each area of makeup.
Erwin will guide us through facial hair design, the laying of facial hair and lace facial hair pieces, and where to start the design process. Things to think about beforehand follow:
• What is the period of the project (current, past, future)?
• Who will wear it, and what medium are you working in?
• How many shooting days?
• Interior or exterior, rain or snow? What is the climate?
Pro Tip
The questions affect how many pieces are made, and how much hair you need.
• If it is a reshoot, and you are matching something that was shot a year ago, what are you going to match to as far as shape and color? Is a good photo available for reference?
Once all the script information is collected, the design process starts. You will need:
• A template or live cast of the actor
• A hair sample from the actor
• Reference of the final look to be created
• Approval of the design
• Approval from production on cost, and a purchase order issued with instructions for billing
Pro Tip
When ordering anything, you need a purchase order number to give to the vendor. This gives the vendor permission to start work, and constitutes a guarantee of the agreed-upon price and payment.
Template
When possible, it is best to have the wig maker do their own fitting, using a template or face cast. If this is not possible, knowing how to do a template or head cast will save you time and money.
Making a Full-Beard Template
By Erwin H. Kupitz
Materials and Tools
• Eyebrow pencil
• Plastic wrap
• Clear tape or matte tape
• Permanent markers
• Scissors
• Baby oil or makeup remover
• Tissue or cotton pads
• Camera (digital or instant) (Figure 9.1)
Figure 9.1 Erwin H. Kuptiz's Workstation
Procedure
1. Cover the actor with a cape (Figure 9.2).
Figure 9.2
Actor Covered with Cape
2. Using the eyebrow pencil, follow the beard shadow of the actor, and mark it on his skin (Figures 9.3 and 9.4).
Figure 9.3 Eyebrow Pencil Marking of Beard Shadow on Actor's Face
Figure 9.4 Chin View of Eyebrow-Pencil Marking
3. Cover the beard area (and disregard the moustache for now) with a single layer of plastic wrap, and secure with tape on the top of the actor's head. Make sure that your eyebrow pencil notes (markings) are all covered with plastic wrap (Figure 9.5).
The Makeup Artist Handbook Page 17