Make-Up, Hair and Costume for Film and Television

Jan Musgrove

• Publisher: Routledge
• Year: 2013
• Print ISBN:
  9781138140967
• eBook ISBN:
  9781136055614
• Topic: Media & Performing Arts
• Subtopic: Film & Video

An introductory guide for students learning professional make-up, hairdressing and wardrobe skills and `front of camera' professionals needing an understanding of the techniques. Written by an experienced professional, this manual offers a step-by step approach for the complete beginner with diagrams to show procedures for a variety of make-up effects, from corrective and character make-up, to period dramas, special effects and prosthetics. It describes the skills required of the job, introduces special make-up products and how to apply them for different effect and sets the context for the make-up artist's role, by considering technical requirements such as lighting, camerawork and chroma-key backgrounds.

Introduction to Special Effects

Creating special effects is one of the most exciting aspects of working as a make-up artist. The sense of achievement in having produced realistic effects is tremendous. As always, the secret of success is that the special effects do not look like make-up. This means that subtlety is required; little rather than more make-up will give best results. Experiment with tools for application – stipple sponges, hairpins, the end of a brush rather than the bristle, and a variety of modelling tools.

Research is paramount not only for accurate coloration but to establish where the make-up should be applied. If someone has fallen and bruised his or her face, the bruise would more likely be on a prominent bone, cheekbone or forehead for instance, not on a soft area.

Continuity must be considered and planned for. A bruise or wound doesn’t suddenly vanish overnight and the healing process needs to be considered.

It is worthwhile checking, if possible, how it will be filmed. A lot of work could be done only to find that it was on the wrong side of the face or body! The amount of make-up required would be affected by whether it is to be filmed as a long shot or a close-up.

Bruising

Dirt or Breaking Down

‘Breaking down’ is the term used for creating the effects required when an artist is affected by environmental conditions in the story. It can be just making someone look hot and sweaty or showing that they have been in a dirty place. Again it is important that these effects look realistic.

The make-up artist needs to ask the following questions:

How did the person get dirty?

If a child has dirty hands and rubs his or her face, where would the dirt be?

If a person were perspiring, where would it show most?

If someone were crying, how would the tears fall?

There are many products now made especially for TV and film – coloured powders, coloured gels, specially coloured grease paints. There’s even tooth enamel that gives the appearance of rotting teeth.

It is surprising, though, what can be found in the kitchen cupboard that will do just as well as commercial products. Sometimes mixing your own colours and materials produces more realistic effects than manufactured products. However, don’t get carried away. Vegetable soup is wonderful as fake vomit, but looks so awful the audience may end up feeling sick!

Although food products should be safe to use, if in doubt test the products on a sensitive area of skin such as behind the ears or on the inside of the wrist, and use a barrier cream.

Tears and Sweat

Tear sticks, available to buy, are held near the eyes to make them water; there are also such products as Epsom Salts and Olbas Oil that have the same effect. However, care must be taken when using them. Some people have extremely sensitive eyes. Eye drops used in excess may give just as good an effect.

Glycerine is an extremely useful product to have. By dropping a little under the eyes it will trickle slowly creating the effect of tears. It can also be stippled onto the face and body to give the effect of sweat. It does not dry out as quickly as water. Be very careful not to get glycerine in the eyes as it can sting for some time. Make sure that it is cleaned off the face before the artist rubs their eyes.

A mixture of glycerine and water is effective as sweat and can be kept in a small water spray for speed of application. It is shiny and catches the light. It does not dry up like pure water. Pure glycerine will give heavy globules, but again make sure the products are cleaned off the skin when filming is finished.

Blood

The colour of blood should not be taken for granted. It needs thought and research. Arterial blood is brighter than venous blood because it is oxygenated and congealed blood turns darker the longer it is left. Blood can be bought ready-made in both light and dark colours but consideration must be given to staining; some blood products will stain both skin and clothes. It is important for costume staff to check with make-up about staining if blood is being used.

To make your own, commercial blood can be mixed with water and red and yellow food colouring. The thickness can be varied by adding flour or glycerine or clear syrup to make it more viscous. Adding black treacle, more flour or crushed breadcrumbs will create congealed blood. Adding crushed cereals will create various bloody wounds and grazes.

For authenticity all wounds need to be researched. If someone is shot, the entry wound caused by the bullet will be small, the greater damage being internally or at the point where the bullet exits. These bullet wounds were made from wax straight onto the skin

When working with blood and wounds continuity has to be carefully researched and noted. As the days pass the wound needs to be in the right place and as it heals any bruising will change colour.

Planning the wounds beforehand is important for continuity

As the wounds heal the make-up must be consistent, which is not always straightforward if the scenes are shot out of sequence. These grazes were created with latex

Latex

Latex, another versat...

Table of contents

• Cover Page
• Half Title Page
• Routledge Research in Asian Education
• Title Page
• Copyright Page
• Table of Contents
• Working in the Media
• Working in Studios
• Working on Location
• Technical Operations
• Preparation for Production
• Job Opportunities
• Make-Up Skills
• Working with Hair
• Hairdressing Skills
• Working with Wigs
• Special Effects
• Costume Department Skills
• Miscellaneous
• Glossary
• Further Reading