CHARACTER DESIGN

Подпись: “In designing the makeup for Fatal Attraction, the female character Alex Forrest, played by actress Glenn Close, is clearly attractive and sensual, but with an underlying layer of terrible disturbance and ill function. Symmetry and balance could not tell this story. Instead, I made an effort to suggest that something was always hidden by emphasizing the natural lack of symmetry in the human face, by lining the eyes to stress that one was slightly smaller and by tossing a shaft of hair over one eye to create a kind of three- quarter (rather than honest full face) gaze. і I 5 The lady had her secrets and her “beauty makeup” contributed to her mystery. In the retail world, balance and symmetry are more useful than they are in film. The movie camera seems to adore the less-than-perfect if it exists within the confines of perfect reproductive health and heat. Just examine the specific features of today’s biggest stars. I struggle to learn what each face wants to say about itself; unless there is a particular demand made upon one feature’s emphasis over another, my habit is to let the face of the actor tell me. Or their voice if they are so inclined.” —Richard Dean We use every trick available to tell the story and sell the look. We change eyes, teeth, eyebrows, noses, nails, skin color, hair color. We reverse age, add age, add tattoos, change facial features, and, of course, alter with prosthetics. Your designs can be sketched, done with Photoshop, tested on models/actors, or verbalized. The better your prep and research of a project, the Character design can be thought of as all makeup designs; even a beauty makeup is a form of character design. For some people, when referring to character makeup, they don’t realize this point. They think of an old age makeup or an obvious physical alteration to the actor to show character, and not beauty. All projects begin with text or concept; there is your character. Working subtly is just as challenging as painting with broad strokes when creating a character. Nicotine stains on the teeth and fingers of a character that smokes is an example of conveying the subtlety of a character. Many times the audience does not consciously notice these design because the look is so authentic to the physical portrayal. Richard Dean, whose artistry and brilliance in makeup design for so many films, is one of the top makeup artists in the film industry. His work gives makeup artists inspiration, and for the beginning makeup artist he will illustrate some of the thought processes for designing a makeup:

Подпись: I IПодпись: DESIGNCHARACTER DESIGNCHARACTER DESIGNCHARACTER DESIGNbetter your work will be. There will be times that you have no prep or research time, such as last-minute jobs, on-the-spot requests because of a new inspiration by the Director or actor, or accidents that require fast problem solving. Remember attention to detail gives your makeup designs life.

PRO TIP

It can be daunting to execute a makeup on a leading lady when she is the second or third soprano to sing the role during the run of an opera, and there is no chance to observe her in a rehearsal and make any necessary corrections. This is where one’s instincts and experience must guide one’s hand.

—Steven Horak

Patty York prefers to illustrate her designs for film. Being a passionate perfectionist with a background as a commercial artist helps distinguish her face paintings from others. Patty also prefers illustrating her makeup continuity charts (or Face Chart). She meticulously shows a painted illustration and includes written details of her makeup designs, including a photo of the completed makeup on the actor or actress.

“One of my job requirements is makeup continuity for the film project at hand. This means reproducing the makeup designs I’ve created for the film on paper, a Face Chart, if you will, with painted illustrations and written details. I love doing them. I get a
sort of Zen buzz from the process.”—Patty York

Many times you will have to recreate looks for continuity reasons on a project. Scheduling, story line, and cost affect how often one look will be recreated throughout a shooting schedule. You need to remember what you did, how you did it, and what you use.

These Face Charts or Makeup Charts go into a makeup continuity book that is kept by the Makeup Department and turned into the studio on completion of the film.

If there are re-shoots or additional photography requested by the studio to finish or change the film, the looks can be recreated by referencing the makeup continuity book—regardless of whether or not the original Makeup Department is available. These decisions are made “in post” on a project; the Powers That Be decide to change, redo, or add to a scene for many reasons, one of which is a testing audience that does not respond well to the movie. All departments on film and television keep continuity books. Everyone puts their own stamp on how the book is done. Digital photos, notes illustrated with photos, sticky notes that attach to the back of the photo, Makeup Charts (Face Charts), labeling of the cosmetics used with the scene and actor on the label, and combinations of all of the above, are some of the tools used to document continuity.

Patty’s Face Chart gives you all the detail and description to recreate her makeup design for this character.

Подпись: FIGURE 8-1A Подпись: 11 7

Note: This is an actual working Face Chart, the photo of the completed makeup on the actress is not included to protect the integrity of the film until it is released to the theatres. The film is still in production as of this printing.

Kim Felix-Burke gives us another example of a Makeup Chart. This shows how a photo from fashion or advertising can inspire a makeup design. The photo is from a Sephora makeup ad.

Updated: July 6, 2015 — 4:45 am