Color is one of the most important things to have a good understanding about. The more you use what you read, the easier using color becomes. Whether you use a traditional color wheel or the Real Color Wheel is up to you. The lessons address using the different primary colors, but the knowledge can also be used for more – traditional ways of color mixing. Just think of these color lessons as a way to mix to get even more color choices.
Lesson One: The Color Wheel
1. Using artist paper and a pencil,
draw a Real Color Wheel. Be sure to use the correct dimensions and straight
edges. Use the RCW in Figure 3.1 for reference.
2. Paint in the correct colors on your wheel.
3. After you are done painting, number and name the wheel.
Lesson Two: Complementary Pigments Make
Neutral Darks
1. Draw three simple contour drawings of an object or face.
2. Pick three of the opposition colors in Figure 3.7 to use as details, shadows, or highlights (for example, Cadmium Orange and Cobalt Blue are opposition colors).
3. Use the colors separately and mixed together to create neutral darks.
Lesson Three: Complementary Pigments Make
Neutral Darks
1. Use the example from Lesson Two, but instead follow the brown pigment chart (Figure 3.14) for reference.
Lesson Four: Creating Several Skin Tones
1. On artist paper, create several skin tones by using pigments that have been tinted or darkened accordingly. Remember to use all the ranges of color from #1 yellow to #7 red.
2. Darken these colors to brown by mixing your browns.
3. When you come up with skin tones you like, write down, next to the color, the exact combination you used. This is a way to keep records for future use.
Lighting can be one of the most important tools for a Makeup Artist. It is always a good idea to know what type of lights are being applied and the kind of gels or filters that will be used in front of the lights or the camera lens. Makeup is often adjusted to meet those demands. Most often, if you have designed your makeup with the lighting in mind, your artistry will be enhanced by it. If you ignore the effects that lighting and color have on your makeup application, the mistakes will be obvious for all to see. It all works together and takes 4 8 years to really learn, but you will get
invaluable practical experience with each job. Eventually, you will recognize what colors work with the lighting situations you are in, and the more information you know about lighting, filters, and gels, the better the outcome.
Before a shoot starts, ask questions of the Director, the Cinematographer (also known as the DP, Director of Photography), or the Gaffer (Lighting Designer). If they are not available, sometimes the First AD (Assistant Director) can help. Of course in some jobs, you will not get the chance to ask any questions. Be observant, watch the lighting crew and camera, and ask questions when they are not busy. Most people are very happy to explain their job or situation to you. Is it a film, video, HDTV, or stage production? You should know whether you are filming indoors or outside, day or night, and what lights, filters, and gels are planned. There are so many factors, and the more you know, the better off you are. Remember, this is not a perfect world— there will be many, many times that information is not available. So know your
stuff, and be ready to work out of your kit and think on your feet.
Joseph N. Tawil, President of GAMPRODUCTS, Inc., is an expert in light and color mixing. He suggests:
“Often I recommend that lights be set up in the makeup room in which you can put colored gels to simulate the lighting on stage or for camera.”
This is a perfect working condition, but you cannot count on it. On some productions, this will be accommodated, but it depends on the project, prep time, and—very important—the money. Lighting packages can be expensive, and so are those lightbulbs.