It is hard to constantly memorize and remember every bone and muscle in the body, not even counting the vascular system. But even learning the basics and having those references to remind you of the correct placement of bones and muscles is important. The first two lessons are important because the more often you look at and write down a term, the more you’ll start to recognize it.
Lesson One: The Skeletal System
1. Find an unlabeled drawing, photo, or chart of the skeletal system.
2. Make a copy of the unlabeled skeletal system for yourself to write on.
3. List the bones correctly on your copy of the unlabeled chart, checking your answers from the labeled skeletal system chart in Figure 2.3. You need to list only the basic bone structures: skull, neck, shoulders, arms, chest, wrist, fingers, legs, ankles, feet, toes, and so on.
Lesson Two: The Facial Bones
1. Find an unlabeled drawing, photo, or chart of the facial bone structure.
2. Make a copy of the unlabeled facial bone structure for yourself to write on.
3. List the basic facial bone structures on your copy of the unlabeled chart, checking your answers using the labeled facial charts in Figures 2.1 and 2.2.
Lesson Three: Facial Muscles
1. Find three or four photos of interesting faces with lots of different expressions.
2. Make copies of each of the photos.
3. List the correct facial muscle(s) on the photo that is/are causing the expression in the photo (for example: crying, laughing, being scared, and so on).
4. Repeat step 3, above, for each of the different photos.
Lesson Four: Body Wounds
This lesson can be done over time to get what you want. Using a camera, take pictures of several different types of wounds. You can also use several photographs found in magazines or medical books.
1. Observe up close what the shapes, sizes, colors, and textures are for each wound.
2. Write down where the wound is located on the body, using the correct medical terms to describe the location. (For example: The scratches are located on the epidermis in the torso area, and
so on.)
The idea of this lesson is for you to start looking at wounds or illnesses in terms of colors, shapes, and textures instead of by what you think you already know. Starting a book for future reference is always a good idea. At the end of one year, review your book. It could include some of the following wounds:
• A bruise (new, a few days old, a week later)
• Scratches (new and old)
• A cut (new and old)
• 
Scar(s)
• Blister(s)
(Contributers) Cheryl A. Bean, Peggy Bozarth, Yvette P. Conley, Lillian Craig, Shelba Durston, Ken W. Edmisson, William F. Galvin, Deborah A. Hanes, Joanne Konick-McMahan, Lt Manuel D. Leal,
Dawna Martich, E. Ann Myers, Sundaram V. Ramanan, Barbara L. Sauls, Janet Somlyay, Sandra M Waguespack.
Atlas of Pathophysiology. Second Edition. Lippincott, Williams & Wilkins. A. Wolters
Kluwer Company, Philadelphia: Anatomical Chart Company, Skokie, Il.
Alcamo, I. Edward. 2003. Anatomy Coloring Workbook I, second edition. New York: Princetonreview Inc.
Barcsay, Jeno. 2006. Anatomy For The Artist. New York: Sterling Publishing Co. Inc.
DiMaio, Vincent J. M. 1998. Gun Shot Wounds, Practical Aspects Of Firearms, Ballistics and Forensic Techniques, second edition. Boca Raton: CRC Press, Boca Raton.
Feher, Gyorgy. 2006. Cyclopedia Anatomicae. New York: Black Dog and Leventhal Publishers.
Habif, Thomas P. 1996. Clinical Dermatology, third edition. St Louis: Mosby Year Book Inc.
Look, Bradley. 2007. How to Cover Facial Disorders.
McNeill, Daniel, 1998. The Face. Boston: Back Bay Books; Little, Brown & Company.
MedicineNet. 2007. Frostbite. www. medicinenet. com/frostbite/page2.html.
—— . 2007. Heat exhaustion. www.
medicinenet. com/heat_exhaustion/article.
html.
—— . 2007. Heatstroke. www. medicinenet.
com/heatstroke/article. html.
Moses, Kenneth P., John C. Banks, Pedro B. Nava, and Darrell Peterson, 2005. Atlas of Clinical Gross Anatomy. Mosby.
The basics of color are essential for you, as a professional Makeup Artist, to know and understand. You will use this knowledge in every makeup you do. There will be countless times when color issues come up that you will have to be able to problem solve.
You cannot problem solve unless you understand color and its functions. The wrong color choice can change everything about what you as an artist are trying to say with makeup.
Color understanding is used to create mood, to enhance skin tone and character design, and to correct environmental issues such as lighting and mixing of pigments.
Artists can—and often do—select many palettes, whether in blues or earth colors, for example. But if you are trying to mix colors and get the widest range, you want the three primary colors that allow you to do that. In the subtractive process, those colors are cyan, magenta, and yellow. The purer each of these is in terms of color, the wider the range of colors you can mix. This includes the Makeup Artist who mixes pigments for a variety of surfaces and skin tones. Mixing pigments to create Pax Paint is an example of Makeup Artists using paint color in their work. Pax Paint is a combination of Pros-Aide (adhesive) that is mixed with acrylic paints to be used on a variety of surfaces in which there is a strong bond of color that will not lift or flake off.
All aspects of makeup—foundations color-correcting skin tones, lip tones,
concealing tattoos, birthmarks, blemishes or irregularities in the skin, and coloring prosthetics—use color.
Some examples are:
• Will the shades be positive or negative?
• How will colors look under certain lighting conditions?
• How will a color register on film or HDTV?
• How to correct skin tones?
• How to counter color for film or HDTV?
It is always a good idea to study color theory in detail, as it is an interesting and complex field.
Don Jusko founded the Real Color Wheel (RCW, Figure 3.1), which has modernized the way we use and relate to color.
Don’s color wheel is one in which every color has an opposite color to be used in mixing neutral darks. Any a rtist who wishes to mix dark colors without black pigments can use the RCW. You could also use this color wheel to match, darken, or lighten skin tones and to find the complement colors to existing colors—for example, accents to eye shadows and lipstick colors. According to Don, “It is important for an artist to know how colors relate to one another, which opposite colors will darken the existing colors, and which colors are analogous.”
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In this chapter, we refer to Don Jusko’s Real Color Wheel and how it relates to the Makeup Artist.