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Widely referred to as the “bible of stage makeup,” the timely revision of this classic text addresses principles and techniques in the use of makeup for the contemporary performer.
This extensive exploration of the application and use of stage makeup and makeup for a variety of performance venues covers all aspects in detail and contains over 400 photographs, drawings, and diagrams demonstrating step-by-step procedures. Thoroughly updated and revised, this classic text remains accurate and comprehensive, providing information from which all readers – whether students to the field or seasoned, professional makeup artists – will benefit.
New to this edition:
- Updated photography throughout.
- Features the latest information on products and techniques throughout.
- New additions to chapters concerning hairpieces and wigs: making a pattern for a beard and mustache, making a pattern for a wig, fronting a wig, or sending accurate information for rentals, and the basic roller set for wigs.
- The source Appendix has been totally updated with new vendors and the latest website addresses.
- The materials Appendix has had the most current products added.
- There are new, blank makeup charts for class work and designing makeups.
- There is a color guide for a two-part silicone life cast.
- The new color section featuring Academy Award nominee, Christien Tinsley, steps for the Tinsley Transfers for cuts, bruises and prosthetics. (As seen in the movie The Passion Of The Christ.)
- A selection of makeup in color with complete instructions.
- Color photos of Academy Award winner, Matthew Mungle, special effects makeup for the CSI television show.
- Instructions for a new “creating a likeness” of Queen Elizabeth I.
- The Film and Television chapter now includes information about working with the latest HD digital technology.
- The color section now includes a series of photos illustrating the effects of gel colors on natural makeup.
lighter than the deep shadow are usually best for stippling. Use your base color, if you like, or for a pinker effect either use a pinker color or add a stipple of rouge. If you want the foundation color more yellow, stipple with something yellowish. This is a good opportunity to experiment with different colors of stipple. In any case, stipple gently, barely touching the sponge to the face, so as to give added texture to the skin. Keep examining the results in the mirror as you go, and observe
parallel to, and barely touches, one of the natural creases in the forehead (FIGURE 11-9A), draw the brush along the crease, fading the color out at each end. Make sure the paint touches the natural crease at all times but never crosses it. It is best not to try to model wrinkles with the forehead raised, since the paint is very likely to smudge in the creases, resulting in messy edges. 2. Holding the brush in the same position (FIGURE 11-9B) and starting near but not at one end of the highlight
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small piece of putty from the mass and knead it with your fingers until it is very pliable. If the putty is too stiff and the heat of the hand does not soften it sufficiently, immerse it in hot water for a few minutes or place it near a radiator or in a microwave oven for a few seconds. Although it is possible to soften putty by the addition of a small amount of cleansing cream, the method is not recommended. There is a tendency to add too much cream, resulting in a putty that loses its ability
for reading what the subject has written. The subject can also be given appropriate hand signals to enable the operator to ask questions and get “yes” or “no” responses without the subject’s having to answer by writing. If, in spite of the reassurance the subject still seems apprehensive, it may be suggested, after making it clear that there is nothing unusual about it, that the person allow someone to hold his or her hand. This can be very comforting to some subjects and therefore helpful to the