Figure 9.5 Beard Covered with Single Layer of Plastic Wrap
4. Start using clear tape, and tape over the plastic wrap. Make sure that the tape is tight around the chin. This is very important for a proper fitting of the lace beard around the chin (Figure 9.6).
Figure 9.6 Using Clear Tape Over Plastic Wrap
5. Take special care below the chin and around the neck, making sure that the taped plastic wrap is tight. Two to three layers would be appropriate (Figures 9.7 and 9.8).
Figure 9.7 Take Special Care Around Chin for Tight Fit
Figure 9.8 Chin Fully Taped
6. Now proceed to the sides of the beard, and cover again with two layers of tape. Use a permanent marker to trace the eyebrow pencil markings onto the tape (Figures 9.9 and 9.10).
Figure 9.9 Full-Beard Wrap
Figure 9.10 Side View Full-Beard Tape
7. After the full beard is done, do the same to the moustache, lip piece, and two connector pieces between moustache and chin (Figures 9.11 and 9.12).
Figure 9.11 Mustache Lip Tape
Figure 9.12 Lip Detail
8. Now cut out the beard template above the permanent marker lines about two to three millimeters, and try the entire template again. Take special care around the chin. The template should lay tight around the chin and below the chin, and should lay flat onto the actor's hair at the sideburns (Figures 9.13 and 9.14).
Figure 9.13 Finished Template
Figure 9.14 Template Cut and Checks
9. After the beard template is checked and finished, while the eyebrow pencil markings are still on the skin, take photos from all sides. Clean up the actor's face (Figure 9.15).
Figure 9.15 Cleaning Model
10. Cut out a hair sample from the actor's own hair. If the actor's hair is too short, refer to a swatch ring or hair color swatch book for reference. Sometimes sending hair from another source, such as a wig or someone else's hair, is an alternative. Try to make a base that matches the desired skin tone of the actor, or a final skin tone of a character, and spread it onto a clean white paper or in between two layers of plastic wrap. This sample is needed as a guide to color the lace.
11. Double-check to make sure that you have all of the items needed by the wig maker before you release the actor. (The approximate time to make a full beard is about four working days in backup or doubles.)
Masking Tape Technique
Use a lip or eyebrow pencil and masking tape to transfer markings from the face into the tape. This technique is very good for small or partial facial-hair additions. It also works well on a clean-shaven face.
Material and Tools
• Masking tape
• Eyebrow or lip pencils
• Scissors
• Loose powder and powder brush
• Towel
Procedure
1. Using the lip or eyebrow pencil, mark all facial-hair additions or trace the natural growth pattern and shape of the model's facial hair. If needed, different colors help to design new shapes or mark special patterns (Figures 9.16 and 9.17).
Figure 9.16 Model with Markings Using Brown Eyebrow Pencil
Figure 9.17 Markings for Sideburn Extensions Using Brown Eyebrow Pencil
2. After all markings are done, use small pieces of masking tape, and apply one or two layers over the marked areas. Try not to use more than two layers because this would be too much of a build-up. In this demonstration, sideburn and chin-beard extensions and the addition of a lip piece are created (Figure 9.18).
Figure 9.18 Sideburn, Chin-Beard Extension, and Lip Piece with Taped Areas
3. Using a warm towel (warmed for 10 minutes in a wig dryer), the areas are wrapped and pressed down tight with your hand. The heat of the towel as well as the pressure from your hands will transfer the grease in the eyebrow or lip pencil into the adhesive. A combination of gentle rubbing and pressing for about two to three minutes is recommended (Figure 9.19).
Figure 9.19 Warm Towel Against Chin Tape
4. If doing a full-beard or chin-beard pattern, special care has to be taken around the curves of the chin to make sure the tape is pressed tight against the chin curve. This will ensure the proper shaping of the pattern and a tight fit of the final lace beard.
5. After the pressing and rubbing is done, carefully start to remove the tape from the face. The markings are transferred into the tape.
6. Carefully remove the tape from the face (Figure 9.20).
Figure 9.20 Removing Tape Carefully from Face
7. The removed tape pieces are organized on a towel and are ready to powder. Using loose face powder, powder the tape pieces to prevent them from sticking together or getting messed up (Figure 9.21).
Figure 9.21 Using Loose Face Powder and Powder Brush on Removed Tape Pieces
Pro Tip
Use a loose face powder and powder brush to powder removed tape pieces.
The beard template can now be cut out and applied to a beard block. After the lace pieces are completed, it is recommended to store them together with pictures of the actor, as well as hair color and lace color swatches, in a plastic bag or box for future reference.
Tools in the photo of Erwin's workstation (see Figure 9.22):
Figure 9.22 Erwin's Workstation: Tools and Products to Cut and Style Facial Pieces
• Cutting comb for combing hair during cut
• Rat-tail comb for separating and sectioning
• Small hair clips to secure separations
• Lifting comb for detangling and lifting permed hair
• Hair-cutting and thinning shears as well as razor for cutting hair
• Tweezers for eventual plugging and finishing of hair line
• Ceramic iron heater
• Flat curling iron for lifting and shaping
• Small marcel iron for texturizing and curling
• Natural bristle brushes for wax and tattoo color
• Pinking shears for precutting excess lace
Products in the photo of Erwin's workstation:
• Moustache wax or stronger hair wax
• Plastic sealer in pump bottle or a strong, fast-drying hair lacquer
• Tattoo color for detail work on finished beard (Figure 9.23)
Figure 9.23 Character Lace Beard Prior to Cutting and Styling
• 99-percent alcohol
• Lace pieces
Construction of a Ventilated Beard
Ventilating is the technique used by wig makers to knot hair (either human or synthetic) into wig lace. It is similar to tying a rug, and has been used since King Louis XVI of France. There is single knotting and double knotting, and many versions of lace and qualities of hair. Most lace pieces in film do not use synthetic hair—it does not look real. The quality of lace and hair and the blending of colors are extremely important.
The medium of the lace piece, as well as the design of the facial hair, will dictate what materials and hair are used. The hairline or beard line is always the finest quality of knots to create the illusion of the hair coming out of the follicle.
The Base
The base is made of one layer of custom-dyed nylon lace using a blend of layers of fabric dye following the manufacturer's directions. Match the actor's skin color or the foundation makeup used on the actor as closely as possible.
Construction includes seven separate pieces: chin, two side pieces, one lip piece, two connections, and one moustache. A light coat of acrylic spray is applied before hair ventilation to the finish base. This adds durability.
The Hair
Use human hair from different origins (Asian, Indian, European), as well as yak tail and belly hair. Blends of thicker and coarser hair are used at the bottom of the beard for body. Thinner, finer hair is used closer to the edges.
All hair is custom color blended using darker colors at the bottom and lighter colors at the edges, and then permed using a mild alkaline perm. The diameter of the perm rod will determine the curling result. In this case, a medium to sma
ll perm rod is chosen for a frizzy, “ungroomed” result. This will ensure that the beard keeps the shape, and restyling will be minimized.
Ventilating Hair
Knotting the preblended and permed hair into the lace base is done hair by hair (single-hair knotting), using the various color blends to design natural shading and highlighting. Lighter colors are always used around the edges of the beard (front shade), building up more volume at the bottom and in areas where denser beard growth appears, and decreasing the amount closer to the edges for a natural appearance (Figure 9.24).
Figure 9.24 Beard Separated in Sections Ready to Cut into Shape
How to Cut Facial Hairpieces
A good haircut can eliminate half of the styling and maintenance later on. Because perming is done on the hair, it needs to be treated like curly hair, which means caution is needed during cutting. Texturizing and cutting with razor and thinning shears (cutting different lengths into the hair) will give a more natural appearance to “beard hair.” Blunt cutting a straight line, especially on the moustache, will result in an unnatural “fresh-cut look” that is very “eye-catching” for the camera. The proper cut for a beard is as important as the proper cut for a hairstyle. If the cutting and texturizing are finished and the permed hair is reactivated with water, let it dry naturally.
The beard shape and style should be almost completed after proper cutting. Finishing can be achieved with curling irons.
Elevating your hand while you razor the hair will give a layered-hair effect. All hair except for the sides of the beard is cut to this guideline. The sides of the beard are blended in length into the sideburn length of the design (Figures 9.25 and 9.26).
Figure 9.25 Cutting Length Guideline by Using Razor
Figure 9.26 Using Guideline Reference, Cutting Hair onto Guideline
Cutting a guideline to the desired length with the tip of the razor cuts the moustache in the same manner. Make sure that both sides are even in length and shape. All of the hair is then cut to the length of that guideline with the tip of the razor (Figure 9.27, Figure 9.28, Figure 9.29 and Figure 9.30).
Figure 9.27 Finished Cutting and Basic Texturizing of Full Beard
Figure 9.28 Using Razor for Cutting Lip Piece to Desired Length and Shape
Figure 9.29 Separations for Cutting Mustache Guideline and Connecting Pieces Below Mustache
Figure 9.30 Cutting Guideline to Desired Length with Razor Tip
Mist the precut beard with water, and lift hair using a lifting comb, so the curl can go back into its permed style. The beard is then dried in a wig dryer on a low setting: 100 °F, or 45°C (Figure 9.31).
Figure 9.31 Misting Precut Beard with Water and Lifting Hair Using Lifting Comb
After the hair and the base (lace) are truly dry, the hair is then lightly waxed using moustache wax and a bristle brush. The wax will protect the hair from the heat of the curling irons and from moisture (Figure 9.32). The facial hair is now ready for final styling with the curling irons and tongs.
Figure 9.32 Lightly Waxing Dried Hair with Mustache Wax and Bristle Brush
To bring the permed texture into shape, a small marcel curling iron and waving technique is used. Caution is to be taken that the texture does not appear like finger or marcel waves similar to the waves in hairstyles. Using artistic input as well as practice, this technique is useful for all longer beards and facial hairpieces for building texture, movement, and style (Figures 9.33 and 9.34).
Figure 9.33 Shaping Facial Hair and Beard with Marcel Curling Iron
Figure 9.34 Shaping Facial Hair and Beard with Marcel Curling Iron
Final touches are done on the texture of the beard prior to styling the moustache (Figure 9.35).
Figure 9.35 Final Touches on Texture of Beard Prior to Styling Mustache
A flatiron, or tongs, is used to shape the moustache and the lip piece (Figure 9.36). Because of the use of perm-textured hair, the moustache hardly needs curling. Only the ends at the bottom of the beard are blended under. A root lift is applied to the edges by lifting and sliding a warm flatiron to the hair.
Figure 9.36 Using Flatiron or Tongs to Shape Mustache and Lip Piece
Final color touch-ups are done using tattoo color and 99-percent alcohol (Figures 9.37 and 9.38).
Figure 9.37 Using Tattoo Color and 99% Alcohol for Color Touch-Ups
Figure 9.38 Applying Tattoo Color Wash to Beard with Eyebrow Brush
Using an eyebrow brush with a lash comb attached, a tattoo color wash (more alcohol than color, like an aquarelle color drawing) similar to the beard's color is then brushed over the lighter shades around the edge (front shade). Brushing and immediate combing of the hair will make blending easy. It is important to keep the knots light, while softly blending the ends of the lighter hair into the beard color. Be careful not to make it too opaque or even too dark. The beard line should still be lighter than the beard for a natural effect. This technique will keep the edges soft, and knots will blend more easily around the edges with the skin color. After coloring is done, a light coat of matte clear acrylic spray is applied to the finished beard.
Figure 9.39 is a photo of the finished, styled beard before removing it from the beard block.
Figure 9.39 Finished, Styled Beard Before Removal from Beard Block
Sample Application of a Beard with Stubble
Materials Needed:
• Chin lace piece
• Lower lip piece
• Sideburns
• Chopped curly hair matching beard color
• Scissors, thinning shears
• Metal tail comb
• Adhesive (W.M. Creations Adhesive)
• Tattoo color (e.g., Reel Hair Palette)
• Hair spray
• Makeup sponges
• Brushes
• Alcohol, 99 percent
• Cotton swabs
• Makeup cape
• Concealer pencil in skin tone matching actor
Steps for Application:
1. Start with a clean face.
2. Start applying the chin beard. Check its placement, and use the concealer pencil to mark dots where the edges of the piece belong.
3. Brush a thin layer of adhesive onto the skin, staying about one centimeter below the markings of the lace piece edge.
4. Stipple adhesive with your finger until tacky. Apply a thin second layer and repeat. Be careful not to get adhesive over the concealer marks.
5. Glue the lace piece in place using your rattail comb. It is important that you press with the tail in between the hair at the base of the lace. Make sure you do not glue down the beard hair flat against the skin. This will take a few minutes, and a bit of practice.
6. Use a cotton swab dampened with alcohol to carefully remove your concealer markings.
7. Use a new cotton swab or a finer brush to apply a very thin layer of adhesive to the skin. Tack it with your finger or a brush until flat and tacky.
8. Press lace piece gently into place using your clean rat-tail comb. Continue pressing all edges until they are smoothly glued down to the skin.
9. Apply the lip piece in the same manner. Because it is very small, you probably don't need to use the concealer pencil. Placement of a lip piece should be easier than the placement of a larger beard piece.
10. Apply the sideburns in the same manner. It is important that you position them directly at the bottom of the actor's own sideburns, without a gap in between.
11. Cut the sideburn hair to match the actor's own sideburn hair at the same length, using thinning shears.
12. Brush in a little tattoo color to blend possible color differences between the actor's hair and the false sideburns.
The Makeup Artist Handbook Page 18