On-set, you will need to bring with you:
• A dental case: the veneer case for each pair of veneers working
• Latex gloves
• Nonlatex gloves
• Bottle of mouthwash
• Bottled water
Things to know as a Makeup Artist working
with veneers:
• You will need to work with latex or nonlatex gloves on.
• Ask if the person has an allergy to latex, and what flavor preference they have for mouthwash. Mouthwash helps to keep the veneers fresh, as well as being great for a fast rinse on-set if needed.
• You will be putting in, as well as taking out, the veneers. Always wear gloves. This is also necessary on-set. Sometimes the actor will want to do this, but there are always moments when the Makeup Artist must be prepared to do this.
• Paper towels
If you need to remove veneers on-set, put gloves on and remove the veneers, placing them in a paper towel or directly into their case. Sometimes you have to be the one to actually remove the veneers from the actor’s mouth. The actor can’t do it. Regardless of who takes them out, they will need to be rinsed and stored properly. Ask the actor to please not drink hot coffee or tea while wearing veneers.
Bald caps can be helpful in creating old age to show hair loss. Used in conjunction with
hairpieces, they create a realistic aging. Besides old age, we also use bald caps in character design, to show illness, photo double for a bald actor, stunt double for a bald actor, and, of course, creature/alien designs. You could go years without needing to do a bald cap, but you should still know how to do one. You will need to apply a bald cap several times before being successful, and it is time consuming.
We refer to Edward French (www. edwardfrench. com) for his instructional DVD. It’s an excellent source for the demonstration and application of bald caps. Ed gives great information and instruction, and it is fun to watch. We feel you will greatly benefit from a visual lesson rather than the text lesson in the area.
the film and television industries, the Makeup Artist is responsible for anything that is applied to or glued onto the face; this includes facial hair and sideburns.
IATSE Local 706’s general definition of Makeup Artists: "Makeup Artists perform the art of makeup, which includes:
Application of all moustaches, chin pieces, side burns, beards, false eyebrows and lashes."
There are many professionals who do not feel that hair experience is necessary in today’s market, because Hollywood has become so specialized. We disagree, and feel that in order to be a professional Makeup Artist working in film and television, you need to learn the skills for working with facial hair. If, at some point in your career, you choose to not polish these skills or to not use them, and prefer to “hire out” or not accept jobs requiring these skills, that will be your option. Not learning to work with facial hair will limit you. Until you have the working experience to know what your forte is, it will take experience and exposure to all areas of makeup artistry. So, learn all the skills that are required to be a professional Makeup Artist before deciding what suits you. Having a working knowledge of all aspects of your field not only makes you a well-rounded professional, but is extremely beneficial during conversations with Producers and Directors on how to create certain looks. It is not uncommon today to “hire out” jobs that require a high level of skill and expertise; it saves time and money to have the best. Early in your career, you
will be hired for jobs in which there is no available budget to “hire out” specialists, so the Producers will hire a Makeup Department that can handle all the makeup needs. This is an example of what can happen if you do not have all the skills required to be a professional, especially in the beginning of your career. You most likely will be working on projects that have small budgets and cannot “hire out.”
Remember, those Makeup Artists that do specialize have done so after achieving a level of experience in all areas, prior to specializing in one area of makeup design that is their forte or passion. It is in your best interest to learn all of the skills required to become a well-rounded Makeup Artist before deciding if you want to specialize in one area, or that a particular area of makeup design is not for you. Doing so will give you a more complete education, and the essential background experience that you will need in the film and/or television industries.
Most Department Heads will hire a Makeup Artist that is skilled in everything, so they do not have to worry about the makeup designs that you are assigned. For example, there will be those accidental moments when an actor shows up in the morning and has shaved off his mustache or has changed the shape of his sideburns. In this instance, your film continuity will not be affected because you are able to fix the problem by laying hair or applying a lace piece. As a well-rounded Makeup Artist, you will have the skills and resources to take care of the situation—not to mention that the actor will be relieved and pleased by your ability to fix the problem. Accidents do happen.
Erwin H. Kupitz is a Makeup Artist and Wig Maker. He trained in a classic German apprenticeship, which includes a unisex hairstylist license, makeup artistry, and wig making for five years, with three examinations and one final examination. Unfortunately, there is no longer an apprenticeship program of this magnitude in the United States. This is a wonderful method of training becauses the learning period is long, and the practical experience is invaluable. Erwin did specialize when he migrated to the United States, after seeing the need for wig making and facial hair, and recognizing that Hollywood had evolved into an industry with specialization for each area of makeup.
Erwin will guide us through the design, laying of facial hair, and lace facial pieces. Things to think about before hand:
• What is the period of the project (current, past, future)?
• Who will wear it, and what medium are you working in?
• How many shooting days?
• Interior or exterior, rain or snow? What is the climate?
Once all the script information is collected, the design process starts. You will need:
• A template or live cast of the actor
• A hair sample from the actor
• Reference of the final look to be created
• Approval of the design
• Approval from Production on cost, and a purchase order issued with instructions for billing
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When ordering anything, you need a purchase order number to give to the vendor. This gives the vendor permission to start work, and is a guarantee of the agreed-upon price and payment.
When possible, have the Wig Maker do the template or face cast. This is helpful to them in making their pieces. If it is not possible to have them come to the set, or if you are on location, knowing how to make a template will save you time and money.