if it hurts, stop! this seems a little simplistic, but i've noticed a lot of simple-minded...
TRANSCRIPT
If it hurts, stop!
This seems a little simplistic, but I've noticed a lot of simple-minded people out there. Don't ignore warning signs such as: any swelling in the eyes or face, rashes, redness, or difficulty in breathing. If any of this is occurring, stop what you're doing.
Good general rules of hygiene include:
Always wash your face before putting on theatre makeup. This keeps dirt, skin oil, and old makeup from imbedding into your pores, or transferring into your theatre base. I always make sure my hands are clean too.
Keep your tools clean and dry. Be sure to wash sponges and brushes in cool soapy water. Frankly, it'll serve your purpose to have new sponges for every performance.
Use a small spatula to scoop lipstick, makeup, etc. Do not share mascara, eyeliner, or anything else you can not get
out of the container with a small spatula. Always completely wash off your makeup; never sleep on it. Follow
your face-wash with a mild astringent and a lotion suitable for your skin type.
If you suspect that you have sensitive skin, a chronic skin condition or a tendency for acne, you will be wise to invest in your own makeup. Don't share it! You will protect yourself and others.
Objectives◦Explain why the use of makeup is necessary
on television◦Differentiate between character makeup and
straight makeup◦List the materials and products used for each
layer of makeup application◦Cite common considerations when selecting
the costumes for a production
Introduction◦Makeup is the collection of various cosmetics
and materials that are applied to the skin. These cosmetics are necessary for all studio productions on both male and female talent. Even news anchors, although not considered actors, wear makeup when on camera. This lesson introduces different kinds of makeup products, the uses of each, and some application tips.
Why is Makeup Necessary on Television?◦Performers placed under bright 32K white
light look gray, pasty, flat, and unattractive without makeup
◦When using digital video, images are so sharp that even the slightest imperfection on the skin is greatly magnified on television.
◦Skin blemishes and dark circles under the eyes, acne, rashes, bruises, five o’clock shadows, and wrinkles that are insignificant in real life, are magnified on television
Why is Makeup Necessary on Television?◦Many performers resist wearing makeup, but
they need to understand it is a necessity◦Being evenly lit means that practically all
shadows are removed from the talent’s appearance
◦A face without shadows does not appear to have any depth; it looks flat
◦A face without depth, on a television screen, appears blemished and flat, like it belongs in a horror film, not a professional television production
Why is Makeup Necessary on Television?◦Most people performing on television want to
be as attractive as possible◦Sometimes the best way to convince a
performer to wear makeup is to record some tape to let them see how they look without it
◦The resistance usually melts after seeing themselves on television without makeup
Stage Makeup◦Worn for three reasons:
To make the actor look attractive under very bright stage lights
To help the actor portray a character by creating a “look” that is more appropriate for that character
To add three-dimensionality to the actor’s face by replacing natural shadows that are removed by the bright lights
Stage Makeup◦Usually applied rather heavily so people in the
audience can see the exaggerated facial expressions, regardless of their location in the theater
◦ If the actor were to move into the audience, however, the makeup would look garish and overdone
Television Makeup◦Used for the same three reasons as theatrical
stage makeup, but is more subtle◦Television makeup is not applied as heavily◦The talent should not appear to be wearing
makeup at all◦The goal is to create a natural appearance
from a distance of 8 to 12 feet, which is the average distance between a television set and viewers at home
Makeup Styles◦Two styles of makeup:
Painted Natural
◦Both styles are acceptable, depending on the type of program and the director’s goals for the program
Makeup Styles◦Painted Style
The audience can clearly see that the performer is wearing makeup
For example, an actress playing a woman who lived in the 1960s would be made-up with dark eyeliner, long dark eyelashes, and layers of blue shadow because this was the trend in fashion makeup in that era and is appropriate for a realistic portrayal of the character
Makeup Styles◦Natural Style
Enhances a person’s facial features, but does not draw attention to the makeup applied
Female performers often do their own makeup in a completely natural style and add cosmetics based on their character’s wardrobe, personality, or situation
Makeup Styles◦Natural Style
It may seem odd to spend time applying natural makeup if the purpose is to appear as though no makeup was used at all
But consider the alternative: if a natural style of makeup is not applied, the television image presents an unhealthy, unattractive, and unnatural picture
Application Techniques◦Character makeup: makeup application
technique used to make a performer look like someone or something other than the performer’s own persona For example, the performer can be made to
appear older or younger, as a different race, or an alien from another world
Categories include special effects makeup and injuries, including cuts, bruises, scars, and warts
Application Techniques◦Prosthetic: a cosmetic appliance, usually
made of foam or putty, which may be glued to the skin with special adhesives
◦Creates or exaggerates physical features on performers, for example, noses, wounds, swelling, and warts
◦Added to a performer’s appearance based on the character they portray or the action in the scene
Application Techniques◦Spirit Gum: a type of adhesive commonly
used to apply prosthetic items◦Spirit gum is as thin as water and is applied
with a brush
Application Techniques◦To attach a prosthetic using spirit gum:
Brush the spirit gum onto the skin in the area where the appliance is to be attached. Let the adhesive set for a few moments.
When the spirit gum is no longer shiny, gently tap it with your fingertip. If it is tacky and strings of adhesive attach to your finger, the gum is ready for adhesion.
Clean any adhesive off your fingers. Attach the prosthetic item with gentle, even
pressure
SAFETY NOTE◦Do not use spirit gum around the eyes.
Irritation, rash, or inflammation can occur when the chemicals in the adhesive come into contact with the sensitive skin around the eyes.
Application Techniques◦To remove a prosthetic, as well as any adhesive
on your hands, use spirit gum remover◦The remover chemically dissolves the gum on
contact◦To apply the spirit gum remover:
Dip a cotton ball or makeup brush into the remover
Gently work it into the edges of the prosthetic appliance
This dissolves the gum and allows the appliance to be detached from the skin easily
Application Techniques◦Straight Makeup: makeup application
technique used to correct or hide blemishes, make the complexion more even, and generally help people look attractive and like themselves under bright television lights
Makeup Products◦Theatrical
Less expensive than over-the counter makeup
◦Over-the counter Packaged in smaller quantities, so must be
purchased more frequently than theatrical makeup
The amount of powder and fragrances included irritates and dries the skin
More convenient because it can be purchased at the corner store
Crème Makeup: an oil-based product that easily blends with other colors.◦Colors can be mixed together to create a more
natural progression from one shade to another◦Much better than the greasy products of
yesteryear◦There is a stigma that oil-based makeup
creates problems with already oily skin◦However, natural human oil and makeup oil do
not clog the pores of the skin if properly removed
Pancake Makeup: a powder makeup foundation that is water-soluble.◦It is pressed into a compact container◦Once the most common type of makeup used
by most television and film performers, but is no longer the case
◦Can clog the pores of the skin and cause breakouts
◦Does not blend well with other colors◦Once the color is applied, it remains at the
applied intensity until removal
Pancake Makeup◦Therefore, a very light touch is required to
apply this makeup◦Any additional layers of color must also be
powder-based◦When pancake and crème products are
mixed, a sticky goop results
Makeup Application◦Several layers of makeup are required to
create a realistic appearance on camera◦This is true for both character and straight
makeup applications ◦Makeup should be applied under lighting
conditions that closely reproduce the lighting on the studio set or shoot location
First Makeup Layer◦Base: the first layer of makeup applied –
usually covers the entire face, neck, ears, back of the hands, and bald spot, if present. Also called foundation.
First Makeup Layer◦The first layer of makeup applied usually
covers the entire face, neck, ears, back of the hands, and bald spot, if present.
◦This layer is called base or foundation◦Base is best applied with a slightly moistened
cosmetic sponge◦These dense foam sponges are available at
retail outlets in the cosmetics section and come in a wedge shape
First Makeup Layer◦Cosmetic sponges are effective for applying
base on everyone except males who are old enough to shave
◦The beard stubble on a man’s face shreds the sponges and leaves bits of foam all over their face
◦Use a different kind of sponge on adult men, such as a natural sea sponge or one made of polyester
First Makeup Layer◦If base is applied properly, the performers
should not feel the makeup on their faces at all
◦ If they feel this layer of makeup, it was applied too heavily
PRODUCTION NOTE◦To simplify the process, use the same kind of
sponge to apply makeup on everyone. This way, there is no need to keep a supply of both cosmetic and sea sponge or polyester sponges on hand for each production. However, performers should each have their own set of sponges. Polyester and sea sponges can be cleaned after each use with soap and hot water.
Second Makeup Layer◦Blending: incorporating applied makeup into
the areas surrounding it by brushing the makeup with the fingers or a brush.
Second Makeup Layer◦Shadow: makeup that is three or four shades
darker than the base makeup applied.
Second Makeup Layer◦Highlight and shadow are applied after the
base makeup◦The bright studio lights remove all the
shadows on the face and makeup replaces these shadows
◦Highlight and shadow should be blended◦There should be no definitive line or
separation between areas with only base makeup and areas with additional colors or layers applied
Second Makeup Layer◦Anywhere shadow is placed makes that area
appear to sink into the plane of the face◦Shadow is commonly places:
Above the eyes, but below the brow Below or to the side of the nose Below the chin In the temple area for an aged appearance On the cheek, below the cheekbone
Second Makeup Layer◦Cheek shadow, also called rouge, should not
be placed directly on the cheekbones because this makes the cheekbones appear crushed or damaged
Second Makeup Layer◦Highlight: makeup that is three or four shades
lighter than the are to which it is applied.◦Usually applied to;◦The bridge of the nose◦The bone just above the eye, below the
eyebrow◦Above the eyebrow, on the bony ridge across
the forehead◦The chin and jaw line of men to give the
appearance of strength◦The cheekbones
Second Makeup Layer◦Always keep in mind that the makeup
applied to talent should help the performer portray exactly the type of character necessary for the betterment of the program
Third Makeup Layer◦After the crèmes of various shades have
been applied, the entire face must be powdered
◦The object of powdering crème makeup is to dull its shine and to set the makeup
◦Setting makeup with translucent powder keeps it from easily smearing
◦Never use baby or talcum powder; you must use translucent powder
Third Makeup Layer◦To apply the translucent makeup powder:
Place a powder puff on the powder and work some powder into the puff with your fingers
Gently pat the powder on the face; do not rub the powder onto the face
Use a makeup powder brush to gently brush off any excess
PRODUCTION NOTE◦A bald spot, or a completely bald head, almost
always needs to be powdered to avoid reflecting large light hits.
Fourth Makeup Layer◦Lipstick should be applied after powdering◦Glossy lipstick should not be used because
it causes distracting light hits◦Talent wearing glossy lipstick appears to
have sequins glued to their lips
Fourth Makeup Layer◦Eyeliner rarely is used on men or children◦Women should wear eyeliner only if it
should be obvious that they are wearing makeup
◦It does not look natural and television amplifies the intensity of eyeliner
Fourth Makeup Layer◦Mascara thickens and lengthens eyelashes◦Men should never wear mascara unless
they are extremely blonde and their eyelashes are not visible without it
PRODUCTION NOTE◦A single tube of mascara should never be
used on multiple people. Mascara should never be shared with another person. It is a fertile breeding ground for bacteria. Eye diseases such as conjunctivitis, or “pinkeye,” are highly contagious and could affect the entire cast if mascara is shared. Even if only one person uses mascara, the product should be discarded and replaced once a month.
Makeup Removal◦Cold cream used to be the most common
product to remove makeup and is still used
◦The disadvantage of using cold cream is that it is messy and must be slathered on the face and wiped off with many tissues
◦The face must then be washed with hot soap and water or else the skin will breakout the next day
Makeup Removal◦Baby wipes are used today by most
makeup artists and performers They are readily available and cost effective Some brands are fragrance-free and may
contain moisturizers like aloe Two or three wipes remove all traces of
makeup without the mess of the other products
Makeup Removal◦Regardless of the removal product used,
the talent should always wash their face with soap and warm water after removing the layers of makeup
Makeup Application Considerations◦Each product brings a unique set of
challenges for a makeup artist◦The action in the production, the
characters involved, and the characteristics of individual performers are all considerations for a makeup artist
Makeup Application Considerations◦Eyes
Always ask if the talent wear contact lenses and if the lenses are “hard” or “soft”
The response determines which application techniques to use and the ease with which makeup can be applied around their eyes
Makeup Application Considerations◦Eyes
Hard Lenses Do not press too hard when applying
makeup to the eyelids The edge of the contact lens can scratch the
cornea of the eyeball underneath the lid You can coach the person to apply their own
makeup You can obtain assistance from a more
experienced makeup artist that knows how to deal with performers wearing hard lenses
Makeup Application Considerations◦Eyes
Soft Lenses Pose no special challenges in applying
talent makeup Talent feels comfortable because they deal
with their lenses daily Talent is ware that working around the
eyes is not painful or uncomfortable
Makeup Application Considerations◦Eyes
Talent who do not wear contacts may be more squeamish when others work near their eyes
Female performers may be more comfortable because they apply their own eye makeup on a regular basis
Makeup Application Considerations◦Eyes
Men and children may react with unintentional resistance because they are not used to anything being near their eyes they may blink, tear, or move away Just be patient and rely on your personality Try to distract them with constant
conversation You can coach them in applying their own
makeup
Makeup Application Considerations◦Eyes
Talent who wear glasses may present unique difficulties The glass lenses or the frames can
produce unattractive light hits Have the talent remove their glasses If poor vision or a character trait prevents
removal, the glasses can be tilted slightly downward to direct the light reflection to the floor
Makeup Application Considerations◦Eyes
Talent who wear glasses may present unique difficulties Another option is to move or re-aim the
lighting instruments in the studio, which is a more time consuming task
Makeup Application Considerations◦Skin Sensitivity or Allergies
The FDA has not officially defined the term “hypoallergenic”
The ‘hypoallergenic” label on some products can be misleading
Usually it means the omission of fragrance If a person is allergic to lanolin or wool, they
should not wear crème makeup and must use pancake makeup
However most people can use theatrical makeup without problems
Makeup Application Considerations◦Men and Makeup Males usually resist the concept of
wearing makeup Not viewed as a masculine attribute in
our society This is ironic because actors, politicians,
and sports figures all wear makeup on television, when in a studio environment for an interview or in promotional product spots
Costume Selection◦Selecting the costumes for a program is
dependent on many existing factors: Plot Setting Set dressing Program format Lighting arrangement And many others
Costume Selection◦Selecting the costumes for a program is
dependent on many existing factors: For example, the type and style of costumes
for a Western set in the late 1800s is different from a science fiction program set in the year 3035
Costume Selection◦The actual program set and set dressing must
be considered when selecting the costumes The patterns and colors used on the set must
be coordinated with the talent’s costuming Both striking clashes and perfect matching of
colors and patterns should be avoided Clashes of color or pattern can be distracting
and cause your message to become lost Perfect matching could cause the talent and
background to blend together and disappear from the shot
Costume Selection◦Lighting◦If the lighting designer uses colored gels in
the lighting instruments, the colored lights will change the appearance of the costume
◦Include the lighting designer’s plans in the selection process to help avoid problems with costuming that meets all the other needs of the program
Costume Selection◦Avoid extreme contrast between individual
items of clothing, between clothing and skin tone, and between clothing and the background; always remember the limitations of contrast ratio
◦Avoid the color white unless the set and other costumes are light in color
◦Avoid the color black unless the set and other costumes are dark in color
Costume Selection◦Costume colors should not match the
background color; when these colors match, the depth created between the performer and the background is lost
◦Avoid the color red, if possible, because red is the most difficult color to accurately process, for both the television camera and the home viewer’s television set
Costume Selection◦Be aware of the chromakey color, if used in a
production. The talent should not wear a color that matches or is very similar to the chromakey color.
◦Avoid flashy jewelry because the pieces of jewelry produce distracting light hits
◦Avoid vertical or horizontal thin stripes and small, busy patterns, such as herringbone. These patterns appear to vibrate in rainbows of color called moiré.
Planning for Productions◦If a scene is scheduled for shooting over a
period of a few days, both the costuming and makeup on the talent must not change from one day of shooting to the next
◦All the footage shot for the scene is likely to be edited down to a scene that lasts mere minutes
Planning for Productions◦To ensure consistency:
Take photographs of the talent on the first day after their makeup and costuming is complete
The brands and colors of makeup should be written on the first day after their makeup chart specific to that performer. The makeup chart also includes the placement and application techniques for the products used
Create a chart that records which articles of clothing each performer wears and the scene in which the clothing is worn
Planning for Productions◦Mistakes happen
For example, an actor has a large wound of a certain shape on his face in one shot and in the very next shot of the same scene, the wound is smaller and shaped differently. Ina third shot, the wound is larger and returns to its original shape. This error in continuity may occur because the first and third shots were taken on a different day than the second shot.
Planning for Productions◦Mistakes happen
The makeup artist did not accurately duplicate the wound on both days. A makeup chart helps prevent errors in makeup continuity. On each consecutive day of shooting, the makeup artist uses the photographs and the makeup chart to duplicate the makeup application.
Planning for Productions◦Mistakes happen
The same applies to costumes used in a production. If a scene began with a male actor’s shirttail tucked into his pants, but the scene ends with the shirttail untucked, the shirttail must be retucked if the scene is shot a second time. Costuming records and photographs are reviewed before additional takes of the same scene are shot.
Wrapping Up◦Much practice is necessary in order to become
competent with makeup application and design techniques. Television makeup is almost identical to theatrical makeup, except in the amount and intensity of application. Subtle application is the rule. To gain some practical experience, volunteer to help with makeup for the next theatrical production in your school. A variety of theatrical makeup books are also available through local libraries and bookstores.