Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Makeup is a vital element in creating the total appearance of the actor The makeup design gives the audience clues to the age, health, and vitality of the character Working with the costume designer, the makeup designer is responsible for the design and execution of the makeup

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Designing the Makeup The makeup designer must design the makeup to transform the actor into the character The designer should be aware if genetics, exposure to the elements, skin deformities, and historical period

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Designing the Makeup The makeup designer’s process is similar to that of other designers Read the script Attend production meetings Hold individual conferences with the director, costume designer, and actors Do research Provide sketches Apply makeup for production

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Designing the Makeup Makeup Drawings Preliminary sketches Quick sketches drawn in any medium that show what the makeup should look like

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Designing the Makeup Makeup Drawings Predrawn makeup worksheets If the designer is inexperienced with sketching, these worksheets of frontal and profile views can be helpful

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Designing the Makeup Makeup Drawings Makeup design adapted to the actor Once the design is finalized, it should be adapted to the actor This can be done by placing tracing paper over a photo of the actor This same process can also be done on the computer, using software programs such as PhotoShop

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Designing the Makeup Makeup Drawings Working drawings These drawing provide detailed information that shows the actor or makeup artist how to apply the makeup These drawing usually show frontal and profile views, as well as detailed notes

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Types of Makeup Various materials are used for makeup base, liners, beards, mustaches, and prosthetic devices Cake makeup Creme makeup Liquid makeup Dry makeup Greasepaint Rubber-Mask Greasepaint Makeup Removers

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Types of Makeup Cake Makeup The most common type of theatrical makeup Dry or moist, cake makeup is pigmented material compressed into cake form A variety of bases as well as highlight and shadow colors are available Can be applied with natural silk sponges, and brushes are used for detailed work Cake makeup does not require powdering

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Types of Makeup Creme Makeup A moist, nongreasy foundation Creme makeup can be applied with a sponge, brush, or the fingers It is compatible with cake makeup but requires powder to be set Creme makeup is also available in stick form—called crayons

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Types of Makeup Liquid Makeup Liquid makeup manufactured for theatrical purposes is mainly limited to body makeup A variety of liquid bases formulated for street wear work perfectly well for the stage Liquid bases dry quickly and are hard to blend if more than one shade of base is being applied!

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Types of Makeup Dry Makeup Dry makeup includes all makeup that is dry when applied to the skin Face powders and pressed powder rouge are used as supplements to other types of makeup

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Types of Makeup Greasepaint Until the development of quality cake and creme makeups, greasepaint was the most commonly used theatrical makeup Opaque and cream-based, it is available in jars, tubes, and tins in a variety of colors Greasepaint creates a reasy, shiny base that does not take highlights and shadows well It also requires a coating of powder Greasepaint can also clog pores and promotes facial perspiration

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Types of Makeup Rubber-Mask Greasepaint This specialty greasepaint, made with a castor-oil base, is primarily used to cover latex It must be thoroughly powdered before any additional makeup can be applied

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Types of Makeup Makeup Removers There are many brands and types of makeup removers; here are a few Kryolan’s Makeup Remover Mehron’s Liquefying Cream Ben Nye’s Quick ‘n Clean Makeup Remover Cleansing creams, cold cream, and baby oils sold in the drugstore remove most types of theatrical makeup—although they can be slightly harsher on the skin!

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Application Techniques Several application techniques can be used with all types of makeup Highlights and Shadows Stippling Corrective Makeup

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Application Techniques Highlights and Shadows By painting artificial, two-dimensional highlights and shadows on an actor’s face, the makeup artist manipulates the audience’s perception of that face

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Application Techniques Highlights and Shadows Facial highlights are simply those areas that reflect more light that the surrounding skin reflects Shadows are those areas that reflect less The highlight color is a lighter version of the foundation, while the shadow color is darker than the foundation

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Application Techniques Stippling Stippling is a method of applying makeup by daubing or patting rather than stroking Stippling with a brush or sponge roughens the skin texture The use of two or more stipple colors will create a more natural look

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Application Techniques Corrective Makeup The purpose of corrective makeup is to enhance the natural appearance of the actor After applying foundation or one or more colors, the actor’s natural facial structure is either emphasized or de-emphasized with highlights and shadows

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Three-Dimensional Makeup Three-Dimensional Makeup involves the use of various materials to alter the shape the actor’s face, neck, or hands Nose Putty Derma Wax Gelatin Latex Prosthetics Beards and Mustaches

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Three-Dimensional Makeup Nose Putty Nose putty can be used to alter the shape of the nose, chin, and other nonflexible areas of skin Adhesion can be increased with the use of spirit gum Apply foundation color and other makeup after applying and shaping the nose putty

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Three-Dimensional Makeup Derma Wax Derma wax is softer than, but does not adhere as well as, nose putty It is used for similar modifications of hard structures, such as noses and chins Derma wax requires a coating of spirit gum

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Three-Dimensional Makeup Gelatin Gelatin, such as unflavored Knox gelatin, form a thick paste that solidifies when cooled when combined with hot water It can be used to form three-dimensional shapes such as warts, scars, and moles Gelatin adheres to thoroughly grease- free skin and is more flexible than nose putty and derma wax It can be used on fleshy, flexible skin— such as cheeks

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Three-Dimensional Makeup Latex Several types of latex systems are used for a variety of purposes, such as forming prosthetic pieces, creating wrinkles, and applying crepe hair Liquid latex is available in clear and flesh-colored formulations Foam latex is soft, flexible expanding foam that is poured into mold to form prosthetic pieces Latex can also be used to make bald caps and eyebrow masks

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Three-Dimensional Makeup Prosthetics Prosthetic devices—latex noses, chins, bald caps, eyebrow blocks, etc.—can either be purchased or made in the shop Items such as noses and chins, that must fit well on an actor’s face, are better created on the face or cast from a “life mask” of the actor Latex prosthetics can be attached to the skin using wither latex or spirit gum Life mask—a plaster mask of a person’s face, created using plaster of paris

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Three-Dimensional Makeup Prosthetics Latex prosthetics can be attached to the skin using wither latex or spirit gum

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Three-Dimensional Makeup Beards and Mustaches False beards and mustaches are usually made from crepe hair, animal hair, or human hair Crepe hair is the least expensive and most commonly used Crepe, animal, and human hair are all available in a wide variety of colors Hair should be attached using spirit gum

Theatrical Design and Production Chapter 18: Makeup © 2006 McGraw-Hill. All right reserved. Three-Dimensional Makeup Beards and Mustaches Ventilated beards and mustaches take more time to construct but look more realistic Generally made from synthetic or relatively coarse human hair, they are constructed on lace or gauze backing