It is recommended that you always use a sunblock as part of your prep when working outdoors. Depending on what you are covering, you have a choice of singlelayer, double-layer, or triple-layer applications.
Single-color application:
1. Prep skin (if need) for all applications.
2. With a brush, apply concealer or Dermacolor to the discolored area, matching to the skin tone. Choose a makeup brush that is appropriate in size for the area you are correcting, and check to make sure it is blended. Lightly powder.
For two-color application (for stronger color correction):
1. Prep skin.
2. With a brush, apply concealer using the opposite color on the color wheel to cancel out (neutralize) the discoloration. (See Chapter 3: Color.)
3. Layer second matching skin tone color on top, over the neutralizing color.
4. Lightly powder.
For three-color application (for birthmarks, port-wine stains, tattoos, or gray tones):
1. Prep skin.
2. Apply first neutralizing color, the opposite color on the color wheel to the discoloration.
3. Apply second neutralizing color by layering or stippling a mauve (red) or orange over the first neutralizing color. This cuts any gray that is bleeding up from the first layer. Inks, gray undertones, and intense colors will have a tendency to “go gray.” This gray tone “bleeds” up through the correction colors. You will see it with your eye and in the mirror. Cut it with a mauve, red, or orange.
4. Layer the third color in a matching skin tone over colors one and two. Check your coverage in the mirror. Is the gray gone?
5. Lightly powder.
The stipple technique is an up-and – downward motion of application using a brush, sponge, or textured sponge. This up – and-down motion prevents the removal of any layers of makeup that are being applied. It is needed in spot painting, character makeup, effects, and prosthetics, but can be applied to most applications.
We want to stress how important it is to master the art of natural makeup and spot painting before moving on to beauty makeup. Practice on your models, your friends, and family. Practice until you believe it. Take photos and critique your work.
In film, beauty makeup is character makeup. Every makeup begins with the text. Makeup is simply one of several languages used to elaborate and illustrate text. Based on the text, we make all sorts of decisions: the character’s physical well-being, social and financial status, level and condition of vanity, and inclination to spend time in front of the mirror.
—Richard Dean, New York Makeup Artist —(See Chapter 8 on Design)
Beauty makeup in film and television has many layers to it. You are accentuating the face as well as adding character and background. We will go into more on designing characters in the next chapter. Beauty does not have to mean symmetry for film or the camera. The camera and the lens love irregularity. There will be jobs where you work for symmetry, and an equal number where you do not. This does not apply to video, HD, theatre, or to the retail world. These are media that will require symmetry. You will adjust your makeup designs and application for the medium you are working in.
Unfortunately some individuals will look in the mirror and want symmetry. If you are working on a film, sometimes a gentle reminder that the camera loves irregularity will help, but often you will have to accommodate individual insecurity and vanity. Every situation is different.
Beauty makeup should accentuate and not overwhelm. It is not a mask, or unnatural looking. Accentuate the positive, without re-creating the face. In the beginning of film, the custom was to blank out the face and to paint back in the desired features. This is no longer the custom or trend. Reality is the accepted beauty aesthetic.
Beauty does not stop at the face. You also have to do necks, hands, arms, legs, and—if needed—the full body. The skin should appear healthy—in some cases, glowing. Bring attention to the eyes, define the eyebrows, and add color to the cheeks and lips. The eyes can captivate, and are generally everyone’s best feature. If you cannot see the eyes, the audience loses interest, so eyes play an important role in all media.