Category FOR ALL MAKEUP ARTISTS, EVERYWHERE

INDUSTRY STANDARDS

Antishines

There are many products out there. Antishine creates a matte look to wherever you apply product. We all have our favorite. One that’s been around for a while is Make-up International’s Face to Face Supermatte. It works well for large crowd scenes.

Adhesives

Beta Bond Plus by Premiere Products,

Inc.: Acrylic adhesive for prosthetics.

K. D. 151 Ultra Matte Lace Adhesive:

Strong adhesive hold for action-packed situations.

KRYOLAN Water Soluble Spirit Gum:

Removes with soap and water.

Pros-Aide: Acrylic based, waterproof, strong hold, used mostly for appliances.

Telesis 5 Adhesive by Premiere Products, Inc.: Silicone-based adhesive.

Very Flat matt Matt Gum by Naimies:

Used in the industry for lace fronts, facial hair, or wherever you don’t want to have shine.

Brush Cleaners

Cinema Secrets: Fast drying.

Naimies: Fast drying.

Effects Products

AM. E.K. Liquid Plastic by W. M. Creations, Inc.: Use in stone or silicone molds for wounds.

Gelatin in Bulk: Burman Industries carries gelatin products.

Latex Products in Bulk: Burman Industries carries a wide range of latex products.

Old-Age Stipple

Old Age Stipple A, B, C, Crusty by W. M. Creations, Inc.

Green Marble SeLr by Premiere Products, Inc.: Developed by RSD Inc. and CMI.

Seals makeup, very durable, safe for

Подпись: HOW TO BE A PROsensitive skins, and also works as an aging product.

RCMA Old Age Stipple Pax Paint

Tom Surprenant Pax Paints

Pax Paint by GM Foam: Premixed Pax Paint colors that match up to RCMA.

Foundation Colors

Plastic Sealers A, B, Soft, Extra Soft, Shiny by W. M. Creations, Inc.

Scab Materials Light, Medium, Dark, and Brown by W. M. Creations, Inc.:

Pigmented, silicone-based liquid that is used for building up three-dimensional scabs.

Scar Material by W. M. Creations, Inc.:

Acetone-based plastic material used to build things such as keloid scars and blisters.

Silicon Product in Bulk Smooth-On Inc.: Easton, Pennsylvania – based manufacturer of Silicon Products. Their website sells direct.

Burman Industries: Carries a good inventory of silicone-related products. Based in Van Nuys, California.

Tattoo Ink Type Products: All of the

products mentioned are Industry Standards. It’s hard to remember what it was like before these products existed.

Reel Creations Palettes by Reel Creations.

Reel Creations Liquids by Reel Creations.

Skin Illustrator Palettes by Premiere Products, Inc.: Created by Kenny Myers/CMI.

Skin Illustrator Liquids by Premiere Products, Inc.: Created by Kenny Myers/CMI.

Stacolor Palettes by W. M. Creations, Inc. Stacolor Liquids by W. M. Creations, Inc.

Tear Products

Burman Industries Menthol Blower and Crystals: A must for any makeup kit.

KRYOLAN Tear Stick

Makeup Products

Foundation or Correction Makeup

Ben Nye Mellow Orange: Neutralizes blue

and green.

Ben Nye Mellow Yellow: Red neutralizer.

KRYOLAN Dermacolor Mini Palette: This makeup covers well, has a large selection of colors, and is easy for doing quick makeup or touch-ups on-set.

IMAN: Excellent makeup line for a range of skin tones from light to dark, including yellow. Great pigment in their shadows, blushers and lipsticks.

RCMA: Without question, a makeup line we could not do without. Foundation colors come in every possible range for any beauty or character makeup. One of the few makeup lines that understands skin tones.

Visiora: A sheer makeup that has a good coverage. Colors have been formulated to match our industry lights and different media. Visiora is also a wonderful makeup to use on men.

Water-Activated Makeup

Ben Nye: Good for theatrical use.

Mehron: Good for theatrical use.

Super Solv by Premiere Products, Inc.:

Non-oily. Extra strength but safe for sensitive skin. Gentle enough for lace fronts.

Studio Fix by MAC: Good for flesh tones, editorials, and stylized beauty makeup.

Makeup Palettes

Viseart Palette of Neutrals: A simple

Sealers, Primers, and Fixers

Sealers protect your work, act as a stronger bond for adhesives, and act like a shield between the skin and a product.

palette of neutral colors. This palette is perfect for your set bag.

Green Marble SeLr Spray: Also can be used as an aging product.

Powders

RCMA Matte Plastic Sealer

Kett No Color: Pressed powder No Color Powder by RCMA.

Soft Sealer by W. M. Creations, Inc.: Also 245 can be used as an aging product. Can be sprayed or stippled over makeup.

Removers

Top Guard by Premiere Products, Inc.

It’s always a safe bet to buy the same remover and adhesive that belong together.

REFERENCES

Adklen Cleanser by RCMA: No travel-

safety issues.

Internet Resources

www. dickblick. com

Beta Solv Remover: Works to remove Pax

www. danielamakeup. com

Beta Bond by Tom Surprenant.

www. indeutsch. com

Ben Nye Bond Off: Removes spirit gum, medical adhesive, and Pros-Aide.

www. makeupartistschoice. com

Delasco Detachol: Removes Pros-Aide. Is

www. makeupcreations. com

mild and hypoallergenic.

www. naimies. com

Pax Remover by GM Foam: Removes Pax Paint.

www. psdaimaandsons. com

RJS Adhesive Remover: No travel-safety

www. sephora. com

issues.

www. solomakeup. com

Translucent, definition, 39 Transparent, definition, 39 Traynor lift, 119-120 Triadic colors, definition, 39 Triangularis muscle, 29 Tuberculosis, 27

Ultra contrast filter, 54 Undertone, definition, 39 Unions, contacts, 271

Value, definition, 2

Vascular system, 19, 22, 30, 256

Veins, 30, 255

Vendors

Asia, 249-250 Australia, 248 Canada, 248 Europe, 249-250 Mexico, 249 New Zealand, 249 United States, 247-248 Veneers care, 130

fabrication, 129-130 touch-ups, 130 Video lights, 51 Violet, mixing, 43

Vitiligo, features and camouflage, 27

Water-activated makeup, products, 245 Wet and dry brush, 243 Wheeler, Paul, 53, 60, 269 Whitescreen, 63 White light, 49 mixing, 44, 233 Wide-set eyes, 12 Wigs, vendors, 250 Workstation, setup, 87-89

Yellow, mixing, 43 York, Patty, 116, 269-270

Подпись: 2 8 IZygomatic arch, 19, 28 Zygomaticus muscles, 29

THINGS TO KNOW

Makeup Brushes Types of Bristles

Badger: One of the most popular and easiest to find. Badger hair quality depends on an array of factors. The highest quality is the neck hair, which is the softest and most expensive of all badger hair.

Boar: Stronger and thicker than badger hair.

Goat: Strong and soft. It’s used alone or mixed with other hairs in makeup brushes. Goat hair can be found in white, brown, or red.

Pony: Also known as camel hair. This is a term for brushes made from a variety of hair such as squirrel, goat, ox, or pony. Usually

Подпись:Подпись: HOW TO BE A PROFan Brush: Shaped like a fan and come in a variety of sizes. Fan brushes disperse powdered makeup and add color with a sheer application. They can be used for applying mascara, as a powder or blush brush, a stipple brush, or as a blending brush.

Kabuki Brushes: Brushes that are often used with mineral-type powder makeup. They come in a variety of sizes and shapes. The most common shape is a fan or dome.

Lash Combs: Lash combs lash are made to separate the lashes after applying mascara.

Lip Brush: There are many choices of lip brushes, from shapes of the bristles to what the bristles are made of. Lip brushes are used to apply lip treatments and lip colors.

Paddle Brushes: These brushes are shaped like a small paddle with a lamb’s wool covering on one side. They are used for blending blush or makeup colors.

Powder Brush: Larger brushes with rounded, softer bristles, often made with goat, sable, or badger hair. They are good for dusting large areas of the face with loose color, or with powder makeup to dust off any excess powder.

Puffs: These are found in so many different brands, shapes, and materials, but all used in basically the same way for makeup and powder application, setting the makeup, and touch-ups on-set.

Pump Brush: Brushes made with the product inside the stem of the handle.

When the brush is pumped, the product disperses into the bristles.

Подпись:Retractable: Brushes that can retract back into the handle of the brush. Some lip brushes and blush brushes are made retractable.

Smudger: Any brush that is used to blend and smudge the makeup.

Sponges: Are used for just about anything you can think of. They come uncut in squares or precut and as a brush form.

Good sponges are gentle on the face, do not soak up your liquid or cream makeup, and aid in blending. Different brands of sponges are made from different materials.

Stipple: Several blends of bristles in the brush, plus the shape of the brush works to create textures or as a blender.

Wet and Dry Brush: Brushes that are made with several different kinds of bristles that can be used effectively wet or dry.

ON-SET

When working in photography always check your makeup in the light of the studio. The makeup preparation room is always bright, and the light is quite yellow. The studio could be completely opposite. Ask the Photographer to do a test photo to see how the makeup comes across. Most Photographers now work with digital cameras that download right to the computer and show the results straight away. This is very helpful. The Photographer appreciates your taking charge and knowing when it is a good time to redo lips, add some gloss, brush the eyebrows, and powder the skin. It’s so much more interesting to participate in the whole process of making a good photo.

Take Down the Makeup

For makeup removal I normally use Crealine, which is easy to use and good for all skin types. But prepared, de-makeup pads are fast and efficient, too. Some models prefer to take off their own makeup, especially around the eyes and lips. Others have their own products with them, which is understandable because of the amount of makeup they wear for work. Many models prefer not to mix all kinds of skin-care products.

Black-and-White Photograph Tip

In fashion shoots, it is not always said if the job is going to be color or black and white. Sometimes it’s during or after shooting when the Photographer works with Photoshop to see what it could be in black and white. Then the decision is made. If you are told ahead of time, here are some

Подпись: brushes made with these bristles are inexpensive and are made in large quantity. Raccoon: North American animal with a multicolored tail in grays and browns. Raccoon brushes have a really soft texture. Sable: An animal from Siberia and Japan. Sable is strong, flexible, and takes to products well. Sable can be found in brown, white, or yellow. Kolinsky sable is a mink found in Siberia and China, and is considered the best. Red sable is from the weasel family, and is often used in place of Kolinsky sable. 241 Squirrel: Hair that is soft and holds water effectively. It works best with liquids. Synthetic or Taklon: Brushes that are made of nylon or polyester. Synthetic brushes are considered reliable and strong. Types of Brushes Angled Brush: These are cut to use at defined angles. Blush brushes, shadow brushes, brow brushes, powder brushes, bronzers, and contour brushes are examples of brushes that can be found cut at an angle. In some cases, the bristles are stiffer. Blush Brush: Soft, wider, rounded brush used to apply blusher color. Blush brushes are made from a variety of bristles. Brow Brush: Angled or slant brushes with a stiff bristle for application of brow powders. It’s also possible to find lash combs and brow brushes as duos. Concealer Brush or Flat Brushes: Concealer brushes are usually flat brushes in a variety of sizes used for cream-based

hints to think about. Work much more with the contrasts, and even exaggerate the intensity of colors and shades. There is a lot more “graphism” in black and white than in color photography because we concentrate on the contrasts, shadows, and lighting instead of the color. Graphic lines and structure work very well for the makeup, such as strong eyebrows, eyeliner, nice colored matte lips, nicely posed blushes.

Still, it’s important to ask the Photographer exactly how he or she is going to work their light. Maybe the Photographer wants the image to be contrast and sober, or something luminous and mild. Try to avoid too much gloss or shiny skin, except if it’s desired to create a strong and wanted effect. For black-and-white photography, it’s important to have a nice balance between warm and cold tones to make the skin look alive and beautiful.

WORKING OUT OF YOUR KIT

You will need a variety of products and palettes in your makeup kit so that you can create any of these looks. “Working out of your kit” is a term used by makeup artists to tell you that you will be creating looks with what is in your kit, and not specially purchased products that are given to you by the Makeup Department. You rely on Industry Standards that are in your kit. As we’ve mentioned before, the palettes from Skin illustrator, stacolors, and Reel Creations are Industry Standards that encourage mixing to create a more realistic makeup that is long lasting and abrasion resistant. They are essential in working out of your kit, and for those unplanned makeup situations where you have to work quickly, on set. There will also be many times that instructions are given to you in “makeup slang” for products. Example: you are asked to “use MV005” or “use

Visiora005,” or just “use 005.” These three terms are referring to the same one product, that if you do not know what it is, you will not know that you are being asked to apply foundation using this specific color (Industry Standard). Makeup and film slang abbreviate just about everything, including products, and sometimes instructions. It is confusing at first, but you will get the hang of it. Remember, if you don’t know, ask!

Having trouble remembering what colors to use or which looks to do for a certain period makeup? Tape a color chart and notes on each period inside your makeup kit for a quick reference guide.

Remember color mixing from Chapter 3?

Red: You can mix yellow and magenta to get red.

Blue: Mix magenta and cyan.

Green: Mix cyan and yellow.

Purple: Mix violet and magenta.

Black, White, and Gray: Mix white into black until you get the desired shade.

Knowing combinations gives you so many choices to work with!

Now separate the three background actor looks of homeless (Figure 12.8), drug addict (Figure 12.9), and illness (Figure 12.10) to see their differences.

Homeless

• Red or sun-damaged skin with various sizes and colors of sun spots.

Подпись: FIGURE 12-8: A HOMELESS PERSON Подпись:Подпись: FIGURE 12-9: A DRUG ADDICT Подпись:Skin tone has rough, leatherlike surface due to exposure to the elements.

Подпись: LoПодпись: HOW TO BE A PRO

• Broken capillaries around the nose and cheeks to reflect substance abuse and weather damage.

• Lesions of various sizes due to illness and injury.

• Ground-in dirt on the body, under fingernails, and even built-up grime from lack of grooming.

• Facial hair would be untrimmed, unshaven, oily, and dirty.

• Darkness, puffiness, and redness under and above the eye.

• Small cuts or scabs on the face, with weathered lips.

• In some situations, the feet must be done as well. The soles of the feet should be blackened with heavy grime, cuts, and bruises.

Drug Addict

• The skin tone tends to be pale and clammy from drug abuse.

• Darkness forms under the eye area from lack of sleep.

• Skin lesions form from drug abuse and illness.

• Track marks on the body from shooting up.

• Bruising on various parts of the body, old and new.

Illness

There are many possibilities for illness: cold, flu, high fever, and disease. You will be directed as to what the illness is, and what the desired effect should be, from the department head or Supervising Makeup

Artist. For this example, your instructions are for a cold/flu.

Cold/Flu: Red tones around the nose with dry, flaky skin. Eyes can appear red and droopy, even watery. Paler skin tone that could be clammy. A dryness to the mouth.

Would you apply foundation or do any corrective makeup on these characters? No. The worse they look, the better, in all three scenarios; and you do not want an even skin tone

Red pencil can be used for rimming the eye area or applying right on the lower lash line for irritated eyes. Several shades of red makeup colors are used for broken capillaries, red noses, and lesions. Have on hand different colors of brown or colors to mix browns for dirt and grime. One black is used to deepen or darken an existing color, plus one white to lighten any existing color or to make grays. Yellow is used for nails, skin tones, and festering lesions or old bruises. Care needs to be taken when working around the eyes. Use a cream – based makeup or a freshly sharpened pencil.

Police Officers

One of the first things you’ll do is clean shave all law-enforcement characters. There should be no facial hair, with exceptions given only by your department head. Mustache’s are allowed for most Police Departments. Sometimes sideburns need to be trimmed. The back of the neck needs to clean shaven. The officers should have a clean-cut appearance. On all shoots, be prepared with a good electric razor, shave
powder stick, astringent of choice, and a small groomer for eyebrows, ears, and nose.

News Reporter and News Anchors

News anchors and reporters usually have a clean-cut appearance as well. If there is a time period issue, you will be told to address that issue. If it is present time, the anchor look is what to aim toward. Work quickly, and spot cover up only the problem areas. Apply a slightly heavy beauty makeup; to achieve a matte, perfect look. Most of the time, lipstick, blusher, eye shadow, and brows are all you will have to do to achieve a news anchor look. The Hair Department will pull the look together. Reporters and anchor types sometimes are pulled ahead of everyone else to go through the Makeup Department because they are usually featured in the scene.

Period Makeup

Refers to a specific time period for the look or trend of that time. Say you are asked to do a period makeup, taking five minutes for each actress because the actresses are in a large crowd scene. If you could do only three things on the actress, what would you do to execute the makeup properly for the following time periods? And what sets each time period apart from the others? We will give you some very general looks for each decade. You must do your own research for each decade to recognize and know a more detailed history of the trends.

1950s (Figure 12.11): Red lips, pale eye shadows applied to the upper eyelids, nice liquid eyeliner across the upper eyelid next to the lash line, no eyeliner on the lower

WORKING OUT OF YOUR KIT

FIGURE 12-11: A 1950S MAKEUP LOOK

WORKING OUT OF YOUR KIT

FIGURE 12-12: A 1960S MAKEUP LOOK

eye lash line, beautifully shaped and filled in eyebrows. Apply lipstick, eyeliner, and brows. A very clean, sometimes innocent, classic look. Note the shape of the lips.

Подпись: 2 3 51960s (Figure 12.12): Pale flat or frosty (but never glossy) lipsticks, strong upper and lower eyeliners, contrasting eye shadows on the eyelids. For example: light shadow on the lid; a deep, dark eye shadow in the crease; followed by a light eye shadow applied on the brow bone. The look is about eyes, so note the style in eye shadow, eyeliner, and brows, as well as the lips. Apply lipstick, eyeliners, and eye shadows.

Подпись: HOW TO BE A PRO

WORKING OUT OF YOUR KIT WORKING OUT OF YOUR KIT

1970s (Figure 12.13): Women and men in the early 1970s were riding the wave ushered in by the counterculture from the 1960s. Freedom of expression through fashion and makeup was seeping into mainstream society. Men had cast off the “above-the- collar” hair restrictions of previous decades, and began wearing their hair much longer.

In addition, facial hair had become popular, which included long sideburns that often widened as they extended down the face, and full mustaches. Hence, facial hair is a large part of re-creating the ’70s look for men. By the mid 1970s, women kept their hair natural whether long or short. Natural, meaning that it was devoid of hairspray, hairpieces, and setting gels of any kind. Eye shadow was colorful and warm (greens, blues, brown) with or without eyeliner; blush and lips in corals, pinks and frosts. Sun-tanned skin.

Example of a Decade in Makeup:

Makeup varies from the early ’70s to the late ’70s, so questions should be addressed to the Makeup Department head on what look they are trying to create. In general
blues, greens, and brown colors were worn as eye shadows. Makeup was applied, but not heavy or over-the-top. Dark brown tones or black would be used around the eye area as liner, but much softer than in earlier years. Lipstick colors were found in corals, pinks, oranges, and soft reds. If you had only three things to do to create a ’70s makeup, what would they be?

1980s (Figure 12.14): In the 1980s, no matter what colors you were using, makeup was applied heavy. Makeup and hair were used as an art form. Depending on who it was that you hung out with, everyone today has a different take on what colors were used in the ’80s. The colors ranged from the punk look (with black liners and dark eye shadows) to the preppy look (girls with rust or fuchsia-colored lipsticks with purple eye shadow). Of course, Madonna always comes to mind when one thinks of an ’80s look. Three things to use for an ’80s makeup: colorful lipstick, full eye shadow, and blusher. Use lipsticks in pinks, purples, fuchsia, rusts, and reds. Apply eye shadows all over the lid and crease, with a dramatic
but lighter shade to the brow bone. Complete the look with a dramatic contouring blusher across and just under the cheekbone in a matching color to the lipstick.

number along. That’s what happened to me. Still, in a city like Paris, it is hard to break in. In fashion, sending out your newest editorials to Photographers and magazines will keep them updated on your work.

WORKING OUT OF YOUR KIT

WORKING OUT OF YOUR KITWORKING OUT OF YOUR KITWORKING OUT OF YOUR KITПодпись: 2 3 7

PRO TIP

There is a transition for each decade in the looks and trends. It does not hap­pen at the beginning of each decade, but a few years later. So there is an overlap of trends between the beginning of one decade and the end of the previous de­cade. Livestyle, environment, economics, and character play into it as well. Know the year if possible to achieve the look. If the project is not being year specific but wants a general feel of a period, choose to go for the obvious trends associated with the decade. Research, research, research! Know the trends by heart, it puts you at a great advantage.

LESSONS FROM THE FIELD

EXAMPLE OF A BEAUTY MAKEUP (STORIES) SHOOT IN PARIS

by Daniela Eschbacher

When I started out in the fashion industry,

I contacted as many Photographers and Stylists as possible to do “test shooting” first to build up my portfolio and contacts. In the beginning, it’s hard contacting everybody and running after magazines. But all that hard work pays off. After working for magazines and commercials, people will get to know you and pass your name and


Preparing for the Shoot

For commercial shoots, it’s important to have all the information necessary from the client or Photographer. The client normally knows exactly what they want, and they expect the Makeup Artist to realize it. When I get a call for a commercial shoot, I will ask the theme of the shoot, the makeup look wanted, if it’s an inside or outside shoot, and how many models. For beauty, it is important to ask the Photographer the reference of the model. The Photographer can either send her portfolio to you by email, or you can look on the agency’s website for the model’s portfolio book.

Once you have all the information, it is time to start thinking about the makeup, products, and to double-check to make sure you have everything you’ll need for the shoot. A lot of times, the Photographer, or even the client, does not know how to express themselves in the form of makeup and colors, so it’s up to me to find the right look. Working in fashion is different from cinema. It can be spontaneous.

Even if you agree on a certain look before shooting, it might all change on the actual workday. On larger, more-complicated shoots, there are meetings before the job. The Stylist knows the clothes, so he or she gives a direction and theme of the shoot.

It can be really helpful to work with an Art Director or Stylist because they see the overall image. Sometimes a simple

Подпись: LoПодпись: HOW TO BE A PROmakeup works much better than one too sophisticated or creative. Meetings are important for meeting the team—it makes the whole process interesting, fun, and human to take the time to sit down and discuss the project. Of course, for commercial jobs, meetings do not always happen.

Designing the Makeup

Designing the makeup—especially if I’m working on personal shoots or beauty stories where everybody counts on the creativity of the Makeup Artist—can be stressful. Even so, I love the work and preparation behind it. Before you start to design, get as much inspiration as possible. The internet is one, but mostly books and paintings. For myself, I love to work with color, so before I think about my makeup,

I think about all the colors that will be used and what atmosphere or feelings those colors will cause to come across.

Once the colors are fixed, I start with effects: shiny or matte, graphic or shady, simple or complicated. Try to prepare as much as possible, but a lot of inspiration is when you first see the model sitting in the makeup chair.

Makeup Kit

Many Makeup Artists have a separate kit for commercials and photography. That includes me. Commercials are not only very tiring, but you work with actors, which is different from working with models. Actors need much more products and attention throughout the day. Therefore, I always have a security kit with me that includes eyedrops, different bases, a nail kit, body
cream and a first-aid kit, to name just a few items. For photography, the makeup kit has a lot of products to create effects, such as glitter, different textures of glosses, all sorts of eyelashes, powders, stones, jewelry, and stencils. Stencils I make myself if possible; the rest I pick up here and there.

Prepping the Model

For fashion or beauty shoots, start with cleaning the model’s face with a mild liquid cleanser (Crealine), and apply, depending on the skin, an appropriate moisturizer. I’m not a fan of heavy creams or moisturizers. Natural oils and vitamins work well without affecting the foundation afterward. Nuxe Multiusage Dry Oil hydrates very well and won’t make the model sweat. It’s very important to check the hands. Nails have to be in good shape. No old nail polish or dry skin. Apply the hand cream. Lips are very important because most models have dry lips. There can be a disaster once the model is in front of the camera, unless you take the time to prep the lips properly. Sometimes I do a soft peeling to take off the dead skin, and afterward apply Elizabeth Arden Eight Hour Cream—a must for every Makeup Artist.

Beauty or Stylized Makeup

Natural colors work best in most beauty makeup. From creamy white to chocolate brown. Warm colors also work well: pink, rose, peach, and oranges. In beauty makeup, you want to look for textures that could be interesting. Glosses on the eyes create a very fresh look. On the cheeks, eyelashes, and eyebrows, gloss will attract
light. Because I work with an airbrush, Temptu products mixed with an SB solution work well.

There are no limits in beauty and fashion. Here are a few examples of different makeups for editorials or a beauty story.

Location Shoot: a Luxury Hotel in Paris

The photographer used artificial light with an emphasis on strong contrasts. So makeup needs to reflect well in the light.

Glosses, Oils, and Shimmers: After cleaning the model’s face, apply natural oils onto the skin and the rest of the body that will be seen. Your goal is to have smooth, shiny, and elegant skin. Let the oils absorb before applying foundation. Use eye products that are moist and creamy in texture, with soft eye pencils to work your shape for the eyes, blending and adding as you go. Purples and chocolate colors work well for this. To increase the contrasts, use a powder shadow in gray or black in only the areas that are needed.

Подпись: FIGURE 12-15: DANIELE'S LUXURY HOTEL SHOOT Подпись:Mascara and individual false eyelashes applied to the outside corners of the eyes add drama and depth. Foundation is applied next. Follow with loose powder to set. Chanel has a good loose powder. A bronzer was used to sculpt and shape the face. Creating depth and contours is important in a shoot with contrast. The brows were shaped by using three pencils in a mix of brown, black, and gray. Colors you use will depend on your model, but a mix of three colors mimics the different colors of hair found in the brows.

CROWD SCENES

Background refers to background artists (actors) or extras working in a scene.

You will hear many terms for background: BG, extra’s, background players, background artists, and background actors. There can be from 1 to 500 or more background in any given scene. Imagine a park scene with two principal actors sitting on a bench. Everyone around them has been placed by the ADs, with directions from the ADs for their actions and motivations. These background actors have

Подпись: LoПодпись: HOW TO BE A PROalready gone through the Costume, Hair, and Makeup Departments before being brought to set.

Instructions you will hear are:

Working With Background: That means you are hired to do makeup for the actors in the background.

Report to Background Holding or Extras Holding: Where to show up for work, or where to go. Usually a large room or tent away from set, designated for the background.

Check the Background: You are being asked to look at the background that the AD has assembled for you, and to decide who needs makeup and who is ready to go to set. The department head will decide who has this responsibility.

Working in background, you will often work on many actors in one day. The department head will give you directions on what he or she wants as far as the look for the actors. Descriptions of special background can be found on the front of the call sheet. In some cases, the Supervising Makeup Artist will give you a list of the different looks for the background that day. Swiftness is important when working in large crowd situations. Having an idea of what makeup colors and products work or do not work speeds up the process. Always follow specific directions from the department head or Supervising Makeup Artist.

On set note: never touch up a principle actor on set unless you have been asked to cover that person! You do not know the actor’s continuity, so never assume that they
need to be powdered or touched up. You are there to take care of the background artists that are around them. So know who the actors are and who you are responsible for, and don’t try to impress your department head by being an over achiever and powdering everyone in sight. If you are unsure, ask!

There are certain makeup looks that are used regularly in film and television. A few of those would be police officers, homeless people, drug addicts, pedestrians, diners in a restaurant, waitresses, bartenders, news reporters, news anchors, and children. The other common makeup situations are for period makeup.

TIME CARDS AND KIT FEES: INSTRUCTIONS

Подпись: will need a copy of your makeup kit rental inventory, which includes a total value and product list, an invoice for your makeup kit rental fee (or Box Rental), and a copy of your IDs. Whatever you do, don’t forget to bring these in. Everyone is so busy; for Production to hear your reasons for forgetting is beside the point. They need the information to process your start papers so you can get paid. Try to make life easier for everyone. I usually have several copies ready to go ahead of time. Fill out the correct information for that job. I put the papers in my makeup kit so 229 not to forget. The Makeup Department should have your start paperwork on the first day to fill out and turn in. The combination of the papers you brought in and the start papers you’ll fill out are turned in together. If the Makeup Department does not have start papers for you, find the Production trailer and get the papers yourself. Again, it looks good for you to know where to go and what to fill out correctly. If you have any questions about your rate or pay, if no one has told you, or if they don’t know, ask your local union. If the Makeup Department is from a different Local they might not know your rate. Rate of pay fluctuates with regions and union locals. If you think about it, not knowing what your salary will be isn’t very professional. A Kit Fee is also called a Box Rental and is based on a daily fee paid to you to cover the cost of working out of you kit. It covers your makeup brushes and makeup products— your kit. Almost always, expendables are provided by the makeup department (in Get your start paper documentation in order to bring with you. On union shoots, you

film), but always pack plenty of supplies in case they are not there when you start work. Always be ready to work!

Expendables are tissue, cotton balls, sponges, puffs, alcohol, brush cleaner, Q-tips, etc. In commercials you provide everything. If something is needed for the
commercial that you have to purchase, you can turn in the receipt for reimbursement. Kit Fees are negotiated for each job; most artists have a standard fee they charge along with their rate. In day checking on a film, the Kit Fee is set by production and the makeup budget; it is not negotiable with day checking.

TIME CARDS AND KIT FEES: INSTRUCTIONS

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Подпись: HOW TO BE A PRO

FIGURE 12-6: A WEST COAST MAKEUP TRAILER-OUTSIDE

 

TIME CARDS AND KIT FEES: INSTRUCTIONS

FIGURE 12-4: AN EAST COAST MAKEUP TRAILER-OUTSIDE

TIME CARDS AND KIT FEES: INSTRUCTIONS

FIGURE 12-7: A WEST COAST MAKEUP TRAILER-INSIDE

 

TIME CARDS AND KIT FEES: INSTRUCTIONS

FIGURE 12-5: AN EAST COAST MAKEUP TRAILER-INSIDE

 

TIME CARDS AND KIT FEES: INSTRUCTIONSTIME CARDS AND KIT FEES: INSTRUCTIONSTIME CARDS AND KIT FEES: INSTRUCTIONSTIME CARDS AND KIT FEES: INSTRUCTIONSTIME CARDS AND KIT FEES: INSTRUCTIONSПодпись: 23I

ana can Dounce wnen someone steps in side. "Stepping up" is call out before enter­ing a makeup trailer for this reason. They tend to be wider with more floor space. In Europe, work is done out of customized buses. European buses and trucks are nar­rower to accommodate the environment: narrow streets and tight parking.

When arriving on-set for the first time, if you do not know where to report, check in with the department head so they know you are here. Knock softly and peek in. There isn’t really any need to go into the trailer unless invited. Remember, the Makeup team could have already been working for hours before you got there. Keep your energy calm and soothing. Makeup trailers bounce, so watch how much you need to go in and out. Do not slam a door. Lift the handle gently to open and close. If invited in, keep most of your things outside the trailer until you get an idea of where you will set up and what you’ll need. I usually leave my set chair outside. If you have already been told where to report, do not go to the Makeup trailer. You do not need to check in with the department head. They have assigned a member of the makeup department to “run” the additional hires or day checkers, and this is the person you will be checking in with.

This way it is great to get notes or directions on where you are supposed to report and what makeup you will be doing that day. Many times you will be asked to go and set up, and the Key Makeup Artist will find you to explain what they want. This could also be the Third or Fourth Makeup Artist. Whoever is in charge of supervising the additional makeup artists and the look of the background artists will be the one to go to with questions.

A typical makeup department has:

1) Makeup Department Head (Chief Makeup Artist in Europe) in charge of designing and running the department

2) Assistant Makeup Department Head

3) Key Makeup Artist

4) Makeup Artist

5) Additional Makeup Artists.

There can also be a Makeup Designer. If there is a Makeup Designer, the department head will work with them in running the department and implementing their designs.

COMMERCIAL VERSES FILM

Makeup kits for the commercial world are similar to film. There are a few differences between the two. For one thing, you probably will need to bring a hair kit as well as the makeup kit. In many cases one person does makeup and hair for a commercial. Do not do hair if you are not qualified or comfortable with it. If you are working on a non-union shoot, you most definitely will be doing both. On a union shoot with a budget for two or more artists, they will hire a Makeup Artist and a Hairstylist. The union requires that all hairstylists are licensed in cosmetology and keep their license current.

Just as with film shoots, someone should be contacting you with your call times the day before you are to work. Call sheets are usually faxed or emailed. Follow the directions and get to work on time!

When you reach Crew parking, you’ll be escorted by a van to the Makeup setups. In commercials, RVs are usually used instead of Makeup star trailers. There can be several locations in one day, so traveling is easier for Production in RVs. Plus, the number of actors you’ll be working on at one time can be smaller. Of course, this isn’t always the case.

Once you have set up, an AD should start bringing in your actors. Once done, you’re off to set! On commercials, clients who are representing the company that is being filmed are on-set. Clients are there to make sure the company is getting what they need out of the shoot. Be professional at all times. You never know who is listening or who it is that you might be talking to.

At the end of the shooting day, make sure you’ve filled out your time card. Turn in your time card to Production. Be sure to stay for the actors to help remove any makeup if needed. If there is room, I like to have hot towels available.

Now you can find your way back to Crew parking. Drive carefully and slowly going back home. You’ve worked long hours.

DAY CHECKING: DAILY HIRE FOR COMMERCIALS

Being called in as a daily hire for commercials is similar to film. There are a few changes that you would need to be aware of. Call sheets are not as extensive, and tend to have all information on the front, sometimes with a storyboard attached so you know how the commercial is being shot. You do not have to worry about bringing in copies of your IDs. Copies might be made for you by production, but even that might not happen. A day rate is also decided on between yourself and the Producers. What you charge is up to you, but never go below the asking rate. Remember that the less you charge, the more people perceive you as someone who is not in demand. When assisting another Makeup Artist, he or she will tell you what they have in the budget for you. Working with another pro is a good experience. Working by yourself means more responsibility, so remember to keep your rates where they should be. You’ll be asking for a flat day rate, with overtime after 10 hours and a kit fee. If you are with a makeup agency, your representative will work out everything for you. After a rate is agreed upon, the agency or Producers might ask for a resume, reel, or CD of your work. This happens mostly if you have never worked with the agency or Producers before, and they want to get an idea of what your makeup looks like in print, and who you have worked for in the past.

Makeup Kits for Day Checking

Day checking, or daily hire, means you are called in one day at a time. Even though you might get a heads-up on more days, don’t count on it. Anything can happen. Although there are people who consider day checking to be the least important part of the Crew, that way of thinking is a big mistake. Department heads recognize the importance of their daily-hire Crew. In general a department head that values their crew, runs a more efficient crew and gets better results in the final outcome of the makeup look desired for the film. As a matter of fact, on a large feature film or project that Makeup Artists want to be involved with, they often work as Day Checkers. Skill is so important on this level, for often you are left alone to make your own judgment calls.

The right makeup kit for the right job is also important. If a department head has phoned ahead to recommend bringing very little or just what is needed, take heed to that request. The department head knows what is going on with their shoot. There is always time to bring in a larger makeup kit if you are hired for more days, or if you are assigned a specialized makeup procedure such as laying down sideburns for a period

Подпись: HOW TO BE A PROpiece. You most likely have had conversations with the department head on any special makeup to bring with you.

Every now and then, a production comes to town and the Makeup Department has not expressed to you what it is you will be doing or what to bring. Doing a little research on the production gives you a feel for the time period of the movie, and you can bring what you feel is needed.

The following Makeup Kit will cover you in all your needs as a Day Checker or union Makeup Artist (Figure 12.3). If you are working a non-union production, this same Makeup Kit would apply, but with the addition of hair products. Every Makeup Artist has their favorite products, and no one or another is wrong. The products listed below are listed because they are popular with other working Makeup Artists—we are constantly trying out or using products that have been suggested by other professionals. I would also suggest that you buy small sizes that can be refilled, or products in tubes, or use small labeled

DAY CHECKING: DAILY HIRE FOR COMMERCIALS

FIGURE 12-3: A TREATMENT BAG AND FILM DAY – CHECKER BAG AND CHAIR

containers to fill with your favorite products. Remember to stay portable!

NOTE: most artists have a makeup kit or case, a makeup bag with additional supplies (including a treatment bag), a set bag or case, and a set chair. The average pieces are three. Some artists are great packers and have it down to two!

Gretchens Treatment Products for the Treatment Bag

• Kiehl’s Ultra Facial Moisturizer for all skin

types

• Kiehl’s Sodium PCA Oil-Free Moisturizer (for those who do not want any oil added to the surface of their skin)

• Kiehl’s Cucumber Herbal Alcohol Free Toner (transfer to a smaller bottle, or use the travel size and refill from the large 16.9-ounce container when needed)

• Kiehl’s Blue Astringent Herbal Lotion (transfer to a smaller bottle, or use the travel size and refill from the large 16.9- ounce container when needed)

• Kiehl’s Close Shavers Shaving Formula #31-0

• Kiehl’s Ultimate Brushless Shaving Cream

• Terax Body Moisturizing Shaving Cream

• Kiehl’s Men’s Alcohol-Free Herbal Toner

• Clinique Skin Supplies for Men, M Shave Aloe Gel

• Remington Face Shaver Pre Shave Poudre

• Kiehl’s Washable Cleansing Milk for Dry, or Normal to Dry, or Sensitive skin types

• L’annine Hand and Body Creme

• Kiehl’s Lip Balm #1 with Sunscreen

Подпись:Подпись:DAY CHECKING: DAILY HIRE FOR COMMERCIALSFresh Soy Face Cleanser Makeup Remover

• Lancome Bi-Facial Double Action Eye Makeup Remover

• Evian Eau Minerale Naturelle Spray

• DHC Coenzyme Q10 Water Mist

• Travel-size container of witch hazel

• Sephora Makeup Brush Cleansing Wipes

• DHC Makeup Off Sheets

• Wet Ones Moisture Wipes Travel Pack

• Murad Day Reform Treatment (works well to apply on the skin before airbrushing)

• Sunscreen SPF 45 or higher

• Rubbing alcohol in a small bottle

• Natura Bisse Sponges

• Small, clean towels

• Eye Tees Precision Makeup Applicators

• Small scissors for cutting cuticles

• Larger scissors for all-around use

• Diamancel Nail File

• Disposable shavers

• No shred cotton pads

• Sugar-free gum or mints in a variety of flavors and brands

• Norelco trimmer

• Tissues

Set Bag

The contents of a set bag or case is an individual’s preference. You can be on-set for long lengths of time, and might not be able to get back to base camp if you have forgotten an item. Also, it depends on if you are watching large background scenes or one or two individuals. Try to keep your set

DAY CHECKING: DAILY HIRE FOR COMMERCIALSDAY CHECKING: DAILY HIRE FOR COMMERCIALSMakeup Artist Jenny King Turko suggests covering up your powder puff with a Kleenex tissue. After touch-ups, toss the tissue away and put a new one around the powder puff. This way, you can touch up large crowds without contaminating other people.

Подпись: HOW TO BE A PROproducts between the actors. Most of all, this will keep brushes and powder puffs separate.

I usually load up three or four puffs ready to go. Bottom line is whatever works for you on deciding what products you like to use.

Gretchens Set Bag: Contents for Film Set Day Checker

(See Fig. 12-03 for Picture of Film Day Checker Bag)

• Kleenex tissues

• Peter Thomas Roth Clinical Skin Care Max Anti Shine Mattifying Gel

• Sponges

• Powder puffs

• Wet Ones Travel Pack

• DHC Body Cleansing Cloths

• Evian Eau Mineral Spray

• Pointy Q-tips

• 1 package of disposable mascara wands

• Remington Face Saver Pre Shave

• 1 small bottle of glycerin

• 1 small pair of scissors

• Band-Aids

• Small eye pencil sharpener

• Tweezers, Laura Mercier by Tweezerman

• 1 eyedropper

• 3 Cutex Nail Polish Remover Pads

• Refresh disposable eyedrops

• Visine

• Gum and mints of choice (regular and sugar-free)

• Small Jao Antibacterial Hand Refresher

• Small Bliss Body Butter

• Small Lise Water Solution Double Instant Eye Makeup Remover

• Kiehl’s Lip Balm SPF 15

• Small Kiehl’s Intensive Treatment Moisturizer

• Carmex

• Small Kiel’s Creamy Eye Treatment

• Andrea Eyelash Adhesive

• 2 containers of individual eyelashes in dark brown and black

• 2 eye shadow palettes with the following colors (black, dark brown, light brown, off – white, rust, gray blue, taupe); eye shadow palettes by Make Up For Ever and Viseart

• Yves Saint Laurent Touche Esclat Radiant Touch

• Lancome Dual Finish Powder Makeup

• Natural Rice Oil Absorbing Rice Paper Tissues with Rice Powder and Bobbi Brown Blotting Papers

• No color powder pressed compact

• Peter Thomas Roth Anti-Shine

• SmashBox Compact Anti-Shine

• 1 red eye pencil

• 1 black eye pencil

• 1 menthol vapor for the eyes

• 1 color each of Tween Time colors for hair

• Small squeeze bottle of Ken Diaz KD151 Flowing Blood Syrup, Drying Blood in Dark and Light

• Skin Illustrator Flesh Tone Palette

• Skin Illustrator FX Palette

• Reel Color Palette Cover-Up/Effects Kit

• Braun electric shaver

DAY CHECKING: DAILY HIRE FOR COMMERCIALSThe last five items of the above list I store in my set chair (if not needed) and then they are readily available on set.

DAY CHECKING: DAILY HIRE FOR COMMERCIALS

PRO TIP

Working in HD, I rarely use powder. If you need to use powder switch between several products like anti-shine, blotting papers, and no color pressed powder, to avoid too much build up.

DAY CHECKING: DAILY HIRE FOR COMMERCIALS

Gretchens Makeup Bag for Film Day Checker

The makeup you bring as a Day Checker on a film set can be contained in a bag or case of some sort. If you are directed to bring makeup for a certain character or time period, you should adjust the contents of your makeup bag to fit the need. If the job is going to entail helping out the department head most of the time, and is not so much about applying a lot of makeup, you won’t need to bring a bulky case. A clear bag with a large strap and handle that can accommodate only what is necessary should work. What you do and how you transport your makeup becomes a personal challenge. Changing out your makeup to fit the job at hand happens no matter how well you think you’re organized. Having at home a few different makeup bags or cases already set up and ready to go helps cut down the “What to bring?” question.

(See Fig. 12-03 for Picture of Film Day Checker Bag)

Air Craft Airbrush Makeup in all colors

Shiseido Stick Foundations

RCMA KO/MB Palette by Vincent Kehoe

Sehora makeup brush cleaning wipes Visiora MV in all colors DermaColor Camouflage System Mellow Yellow by Ben Nye A few setup towels 1 metal palette to blend makeup 1 book of artist paper to blend makeup 1 palette knife RCMA No Color Powder

Laura Mercier Secret Brightening Powder

Lancome Dual Finish Powder Makeup Iman Pressed Powders Guerlain Bronzing Powders Tarte Stick Color Stains in all colors

Eye shadow palettes in various colors (I like to have a shadow palette that is compact that I can use on anybody for large crowds. Colors in black, dark brown, taupe, creams, white, blue, violet, green, and gray. Personally, I have every NARS compact that has come out! My favorite for on-set is Skin Deep.)

Eye shadow palettes in frosty gold tones

Eye shadow palettes in frosty silver tones

Blushers (Blushers should be simple. Light pink, coral, burgundy, red if needed, and a warm neutral color. Again, I can usually find this combination of colors in a palette, therefore I don’t need to bring a

Подпись: HOW TO BE A PROlot of loose colors. Make Up For Ever has a good combination of colors you can put together. I have one or two creams that I can use if someone has a dry skin tone.)

• Kiehl’s Lip Balm SPF 15 in hues 30G and 58B

• Kiehl’s Lip Balm SPF 15

• Laura Mercier Brow Powder Duos in all colors

• Bobbi Brown Long Wear Gel Eyeliners in all colors

• Brow pencils in all the brow colors

• Eye pencils in black, dark brown, dark blue, dark green, and white

• Lip Pencils: M^A^C Rosewood, Trish McEvoy Deep Nude, T. LeClerc Tendre, M^A^C Mahogany, Guerlain Rouge #2,

By Terry #11, #12, Lancome Lip Coloring Stick Inspire, Mauvelle, Lancome LipColor Cherub. Plus a few colors that will work in any situation: pink tones, coral tones, reds, burgundy, and a rust color. Yves Saint Laurent Touche Eclat, all of the colors

• A variety of lip glosses in tubes

• Bobbi Brown eye brightener

• Laura Mercier Secret Brightener

• Laura Mercier Eye Basics Liner

• Lancome Definicils Waterproof Mascara

• Lancome Definicils High Definition Mascara

• Trish McEvoy High Volume Mascara

• Brush roll with a variety of brushes

• W. M Creations, Inc. Stacolor palette (full palette)

• Hand held fan (for those hot days or sets)

Set Chair

There is not always a reason you have to use the set chair, but it is good to have if you are sitting long lengths of time. In film, it is important because of the amount of time you do spend shooting. Everyone has their favorites. Every day, new bags and chairs surface that we all like to check out.

I still like my larger chair that has a pocket below that I can stock up with extra items. You will find yourself storing those extra pieces of clothing for different weather conditions. The chair is compact and easy to move in a hurry. Feel out your department heads and observe what they are doing. In some cases, the Production or Makeup team does not believe in sitting down on the job. Although this is rare, don’t assume that everyone brings their chairs to the set.

ON THE JOB

How to Read a Call Sheet

Reading the call sheet gives you valuable information. If you are day checking, reading what scenes are being shot, how many background artists will be working, and

Подпись: HOW TO BE A PROThis is good to know because you can judge how fresh or tired the Makeup Department might be when you first start working. The more days they have been filming the more tired!

Crew Call: the time the Crew is called into work.

Weather forecast for the day of shooting. Helps you decide what to wear to be comfortable and protected. This would also include any protection you might need for your makeup kits, or for your actors.

Closed Set: A closed set means no visitors. Please remember this rule. You are there to work. It is not a time to show your friends the set. There will be names listed for you to contact to get permission to bring someone on-set.

SC(scene): Scene numbers in the script being shot that day.

Set Description: What is being shot and what the shot looks like. If the shot is indoors or outdoors.

D/N: Day or Night. Indicates if the scene being shot is a day scene or night scene.

Pages: The number of script pages for the scene being shot.

Cast: The cast members appearing in the scene being shot.

Locations: Where the scene(s) is/are being shot.

Holding and Catering: Where the extras are being held, and where the food is located.

Total Pages: Total number of pages being shot that day.

Cast: Actors working that day.

Character(s): Name(s) of the character(s) the actor(s) will be playing. Each character is assigned a number, this number is used to show the character on the call sheet and shooting schedule.

Stat: Work status of the actor. Shows if they work that day or are on hold, or traveling or off.

Reh: Time of rehearsals for the actor(s).

H/MU: The time the actor(s) will go to Hair and Makeup.

Set Call: Time the actors are expected on set.

Remarks: What time the actors will be picked up from their hotel, or home, or if they self drive.

Atmosphere Stand-ins: How many stand – ins and background actors are working that day. Also, what characters they play.

Report: What time stand-ins and background actors report to Hair, Makeup, and Wardrobe.

Set Call: The time stand-ins and background actors report to set.

Remarks: Directions on where to report and at what time for stand-ins and background actors.

Department Requirements: Notes on what each department needs to have for scenes being worked that day. Example: Makeup Dept. blood for scene xx.

Advance Schedule: What scenes will shoot and where for the next few days.

Producers, Production Supervisor, and first AD sign off on (approve) the call sheet. Set phone number and contact in case of an emergency.

Flip side of the call sheet: All Departments and the names of the Crew members listed and their call times.