Figure 10.24 Drying stencil
9. Store the now-clean stencil away for the next time you'll need it (Figure 10.25).
Figure 10.25 Stored stencils
Pro Tip
If you have stubborn spots, use the spray bottle containing isopropyl alcohol. Mist those areas. Then take a synthetic brush and use a patting motion to loosen dry material.
Pro Tip
An Itoya portfolio (available in art-supply and office-supply stores) helps keep stencils flat and organized.
Airbrushing Silicone Prosthetics
By Kazuhiro Tsuji
[Kazu illustrates an example of using the airbrush on a silicone appliance (Figure 10.26). This professional example is for an Old Age Makeup design for film.]
Figure 10.26 Kazu airbrush equipment
Before Actor Prep
1. Seal your pre-painted appliances with a thinned plastic bald cap material like Mouldlifes and New Baldies, available at Motion Picture FX Company.
2. Powder the sealed appliance.
3. Trim out the flashing where necessary.
4. Clean up the back side of the appliance with 70% or 99% alcohol.
5. Pre-glue the appliance with Telesis or Snappy G. Snappy G is a silicone adhesive from Mouldlife that is stronger than Telesis. You can use this adhesive on the entire face, but if the actor has sensitive skin, use just around the mouth area. If the actor sweats a lot or if you need extra hold for a long shooting day, I would use a stronger adhesive all over to secure the piece.
Note: Whatever you do, do not trap wet glue under the appliance. The solvent in it could irritate the skin. Before you lay the appliance down, let the solvent “flash off” from the glue as much as possible.
Actor Prep and Application
1. Ask the actor to wear a button-down shirt to work. It will be easier to remove clothing after the application is done and will not disturb the makeup. Place a cap or towel over the actor's lap.
2. If using a bald cap, wrap the hair for a bald cap application (see Michele Mulkey's bald cap application, Chapter 8).
3. Clean the surface of the skin with Kiehl's Blue Toner, followed by an application of Michael Davy Sweat Stop, wherever necessary. Make sure that both products are dry before you start to apply the appliances.
4. Lay down (flatten) the eyebrows with KRYOLAN Eyebrow Plastic, and then cover with PAX Paint. If the silicone appliance is thin around the eyebrow area, the PAX Paint will block out the brow color so that it will not show through.
5. Glue down the appliances. I usually use a template of the appliance—a copy of the appliance cast out of the appliance mold in firm silicone. Lay the template on the skin; using a powder wand, trace the edge with RCMA Translucent Powder. This will help guide you in applying the appliances in the correct location. Silicone appliances are very soft. It is easy to apply a very soft silicone appliance without stretching it. After the piece is glued down, make sure the appliance has been glued down all the way to the edges. Melt the “flashing” off the appliance with a small amount of acetone on a paint brush. Be sure to have a fan or hair dryer blowing off the fumes from the actor's face. Do not use too much acetone. If the acetone drips or the actor feels it on the skin, that means you are using too much.
Note: I use Dyson's Air Multiplier. It has a gentle and consistent air flow. You can put it right between the actor and the mirror at your makeup station. The actors can still see themselves and you can control the amount of airflow.
6. Seal the edges with a 50:50 mixture of Duo Surgical Adhesive and Premiere Products Beta Bond Plus. You can change the formula according to your needs. If you want this mixture to be applied to the eyelids as in an old age stipple, add more Duo. You will have a better wrinkle effect for the eyes. Dry with a hair dryer and powder. Apply Ben Nye's Final Seal with a white sponge to get rid of any powdery effect on the edge. If you spray the Final Seal from the spray bottle, you will add too much and not have control over the product.
7. Apply old age stipple (or appliance) on the hands.
Painting
I airbrush with Premiere Products Skin Illustrator and Reel Creations airbrush colors thinned down with alcohol. You should never use these colors as they are; always mix your own colors. You have to know what you want to see and how to paint it. This will decide the silicone's opacity and color. The color you mix and how much you thin down these colors will affect the final outcome of the appliance. Rather than 99% isopropyl alcohol to thin down paints, I use either Premier Product Thinners, or ethanol alcohol 99% or weaker. For additional colors, you can use RCMA's Appliance Foundation, thinned with AF Thinner or 99% alcohol, or both. Any oil makeup that will stay shiny on silicone appliances sometimes can be used, but try to use a minimal amount of oil.
My favorite airbrushes are the Iwata HP-C 0.3 mm and the Paasche H with #3.
For airbrush spattering, I use a vinyl tube fitted over the feeder cup. I came up with this when creating a “larger-than-life” portrait makeup of Dick Smith. Having a hard time spattering under the chin area, since it was too big to move, I added height to the feeder cup. You get a better feed for spattering and there is less of a chance of spillage, especially under the chin.
Put a quick disconnect on each airbrush so that you will not have to carry more than one hose. I use a 25-foot-long air hose. This way you can direct the compressor's noise away from the actor. When you use a small compressor, it works like an air tank to stabilize the airflow.
Use the lowest pressure on the compressor as possible. Of course, put an air filter and regulator on it. It is surprising that many Makeup Artists never have tried an airbrush on themselves. You should—it is uncomfortable, especially around the eyes, nose, and ears. Every Makeup Artist should be airbrushed so that they know what it feels like; this will help them find a comfortable way to use an airbrush on actors and/or other clients.
Note: When you pre-paint your appliances before the application, seal the paint job with a thinned bald-cap material. It should be very thin, mostly acetone. Give an extra coat on the neck area where costumes will rub against your work or the hairline where wigs or hairpieces will be glued down.
Check all of your work before applying any wigs or hairpieces. Use ADM Tronics Pros-Aide paste (mixed with Cab-O-Sil or TS-100 Fumed Silica), W.M. Creations Spirit Gum or Matte Silicone adhesives for gluing any type of wig lace.
Spray using Paasche fine spattering with Makeup International Super Matte Antishine mixed with distilled water over the entire surface. For extra matte, apply Antishine or M*A*C Matte right out of the tube or container.
Finally, check all of your work and final touch or adjust for the camera.
Application of Airbrush Body Makeup
By Bradley Look
The airbrushing of makeup is not exclusively used only on the face. Its use to apply body makeup is becoming just as common. The use of the airbrush has become a standard application tool with spray tanning products across the country. Airbrushing of larger areas speeds up the process and allows for a more even coating of cosmetics than is possible by hand application alone.
Setting Up Your Work Area
As you will be working on a larger surface than just the face, having a separate spraying area set aside for this purpose is advisable, since there will be more airborne particulate matter in the air. It cannot be overemphasized enough that the room or tent (commonly used when many people have to be sprayed) must have an exhaust system, to remove all product from the air. Many Makeup Artists will tape a furnace filter to the front side of a box fan and position it close to a doorway in order to suck harmful particles from the room. Additionally, I have used whole-house air ionizers, which drop airborne particles from the air by sending an electrical charge (negative ions) through the air working with an effect similar to static electricity. A six-foot table should be set up for your airbrushes and compressors along with all necessary makeup products. Other supplies might include a hair dryer with a cool setting, powder to
set the makeup, latex sponges, power strip, and appropriate cleaner to remove residual product from airbrushes. A word of warning: Heaters are nice to have but be careful where they are placed when working with alcohol-based products.
Instructions to Give Actors
The day before you are to apply body makeup, specific instructions should be given to actors. For example, if all body hair needs to be removed, it should be done a day or so ahead of time in order to allow the skin sufficient time to recover, in case it breaks out. If the person wishes to moisturize his or her skin before reporting for makeup, a water-based lotion needs to be used in order to allow the makeup to “take” evenly. Another issue to mention to your performer is the use of deodorants. Only roll-on types of antiperspirants should be used because spray deodorants always cover larger areas and the film they leave on the skin will keep makeup from adhering properly. And one last subject that needs to be addressed: Actors need to be instructed not to drink any alcohol the night before the application of body makeup—this is especially true if an alcohol-based product such as temporary tattoo ink (i.e., Reel Creations, Skin Illustrator, or Temptu) is going to be sprayed on the body. Alcohol can seep through the pores causing makeup to lift or even dissolve. I've seen this happen firsthand.
Makeup and Airbrush Supplies
The choice of makeup you use will greatly depend on the durability of the finish you ultimately need. Generally, airbrush spraying for body coverage will consist of the use of spray guns since they can cover larger areas more evenly and quickly. For example, I use Iwata's LPH-50 Spray Gun in the Baby Series since it can be operated on a low PSI setting of 10 to 13. If you only need to spray the arms or legs, Iwata's Kustom Hi-Line TH will work perfectly. The TH works similarly to other spray guns in that it can spray fairly wide using the fan tip or more directly by using the cone tip. The Kustom TH also has the ability to spatter, which comes in quite handy when covering tattoos. Be sure to always operate spray guns at the lowest possible PSI setting to reduce dangerous overspray. On the topic of compressors, always use one that can properly operate the type of gun you're going to spray with.
Applying Body Makeup
To begin, use filter masks to airbrush for long periods of time or when proper ventilation is not at its best. This includes the actors you are working on. Start airbrushing any primer you might use first. Be very careful to take your time and not cause drips or uneven skin tone. Work in long sweeping motions using the whole arm and not just the wrist. It is best to work from the arms inward. When doing the legs, if possible, have the actor step up on an apple box or some other type of platform to save your back from the strain of bending over. If the makeup needs to be more durable, a makeup sealer is advisable.
On-Set Touch-ups
A small tent or designated area near the set to do touch-ups on body makeup will be needed. Ask your AD department to assist you with this setup. You will also need the electrical department to set up power for your compressors, fans, or hairdryers. NEVER plug into any power setup on set: Always ask an electrician to provide you with power and they will plug it in for you. Also, there are battery-operated compressors that work wonders for small areas of touch-up. Be prepared by having whatever you may need on hand.
Removing the Makeup
For removing most tattoo inks or glues, a 50/50 mixture of isopropyl alcohol and isopropyl myristate used on a powder puff breaks down most makeup.
Pro Tip
Shaving cream is a great makeup remover. It removes makeup blood, tattoo inks, cream-based makeup, and water-based makeup. Have available damp hot towels with cleanser or shaving cream for makeup removal.
Cleaning your Airbrush: Paasche
By Paasche
Follow these steps to clean your airbrush (Figure 10.27):
Figure 10.27 Cleaning station
1. Pour any leftover color back into its container.
2. Rinse and wipe color cup or bottle assembly clean. To back-flush color from the airbrush, keep bottle assembly or color cup attached.
3. If using a color cup, cover the top of it with your thumb or a cloth to keep air from blowing out.
4. Place one finger over the air cap of the airbrush, and release some air by depressing the finger button. This causes back pressure, which induces a bubble action inside the airbrush and container. This helps clean the fluid passage.
Spray excess airbrush cleaning product into a cleaning pot, sometimes referred to as a cleaning station. The cleaning station has a filter system that helps to trap harmful solvent so as not to be introduced into the environment.
—Bradley Look
Safety
Certain safety issues do come up with airbrushing. Having good ventilation is at the top of the list. Although there is little or no proven risk of airbrushing with makeup and low-PSI compressors, you, as a professional, are responsible for knowing all of the current safety recommendations in order to protect yourself and the actor's health. One of the main defensive actions to protect yourself and others while airbrushing is to locate your station near an open door, and/or by having open doors at either end of the trailer. Windows should be open and any built-in ventilation systems running. There should be a limit on the number of Makeup Artists in the trailer who are airbrushing at the same time. Airbrushing has little or no risk, but spray-on tanning is a greater concern. Good websites to research the latest findings on cosmetic ingredients and workplace safety issues, respectively, are the Food and Drug Administration at www.fda.gov and the Occupational Safety and Health Administration at www.osha.gov.
References
KTS Effects, Inc.
Tsuji, K., Special Effects Designer and Makeup Artist.
Internet Resources
ARTtalk.com ARTtalk.com, www.arttalk.com.
Badger Badger, www.badgerairbrush.com.
Evans, K, Krisevansmakeup.com.
Food and Drug Administration, www.fda.gov.
Iwata Iwata, Professional Airbrushes and Accessories, www.iwataairbrush.com.
Klasfeld, D, Obsessive Compulsive Cosmetics, www.occmakeup.com.
Look, B., Original articles written for the online magazine, Airbrushtalk.
Mandor, S, www.temptu.com.
Occupational Safety and Health Administration, www.osha.gov.
Ousley, D, www.dinair.com.
Paasche Paasche, www.paascheairbrush.com.
11. Effects
Prosthetics is the process of creating an effect in makeup by sculpting, molding, application, and painting. Prosthetic makeup is widely used today for wounds, to simulate illnesses, to change the shape of a face, or to create a whole different face. Countless monsters and creatures are created using prosthetic makeup. Your imagination is all you need, plus skills in the art of mold-making, applying, and painting the final outcome. Finding the right tools and products will help you to create anything the director has asked for. You might find yourself behind and in trouble on occasion if you can't produce or help a department head in making, laying, or painting a prosthetic piece. Directors and Makeup Artists are much savvier and expect high-end, quality work. The process in prosthetics starts with molds, making molds, and casting chosen materials to go into the mold to cure. There are many different ways to do this, and we'll go over the steps later on in this chapter. In today's market, there are many ways to shorten the path of mold-making because of the advances in products being used. There will be many times when you need to rush something out, a request has been made for a last-minute makeup effect, or you need to reuse a prosthetic piece over and over again. Whatever the case, there are easy ways to do this right on location.
As a Makeup Artist, you should also learn where to turn for help in achieving realistic prosthetic applications. Not everyone needs to pour a body cast or to sculpt masks. If you know the process and who to call, then applying the final piece is what counts.
Mold-Making for Today's Market
By Smooth-On
Many products on the market are u
sed for mold-making. Most use a variety of flexible rubber products. These products can mimic fine details, are easy to remove from the original piece being cast, and can be used over and over again, which makes them cost effective. The following rubber products are often used by Makeup Artists.
Latex: A natural rubber found in rubber trees, mainly in Southeast Asia. Raw rubber is processed with ammonia and water to make the rubber usable as a molding material. Latex is often brushed or slushed into a mold, but not poured. The advantage of using latex is that you don't have to weigh the product. You can use latex right out of the container. It's not too expensive, and has a high elasticity. Latex molds are also good for casting wax and gypsum. The disadvantage of latex is the drying time. Most latex products need to dry for four or more hours between each layer when being brushed on. Some projects can take up to 20 brushed layers. Also, there can be a strong ammonia odor, but there are products out there today that have addressed this problem.
The Makeup Artist Handbook Page 22