Module D

liquid ink

the same product but in liquid form which can be mixed and usually used through an airbrush NOTE: other types of airbrush inks are water based (easier to remove) or silicone based (which are longer lasting and prevents fading)

adhesive tape

(Also known as Toupee Tape) A very sticky double sided tape that is used to adhere toupees or wigs usually on people who are bald or who don't have enough hair to pin away. Some new varieties of this old material are translucent and porous with an excellent adhesion quality.

Collodian

- (see also SCAR MATERIAL) is a flammable syrupy clear solution of pyroxylin in ether and alcohol. There are two basic types flexible and non-flexible. Non-flexible is used by makeup artists to create scars Painted onto the skin it contracts creating the illusion of 'contracted' scar tissue. Can cause skin reactions.

moustache wax

- A coloured wax used to curl the end of the moustaches. It can also be used to block out eyebrows.

acetone

- A highly volatile liquid which melts plastic and is one of the main solvents of adhesive, sealers and prosthetic plastics. Should NEVER be used directly on the skin.

tear blower

- A tube made of plastic containing menthol crystals which is held up near to the eyes and by gently blown producing natural tears. make sure cotton ball is on both sides of crystal or you'll blow crystal into eye

tear stick

- a wind up stick made of menthol which you apply gently in the corner of the eye producing natural tears.

matte adhesive

- can be used both as an adhesive for lace front wigs, laying hair or facial hair pieces as it will not read shiny. (see also spirit gum)

artificial perspiration

A clear liquid made up of glycerine and water. It can be stippled or sprayed on to the face and body to simulate perspiration/sweat.

rubber mask greasepaints

A caster oil based product which looks similar to a thick foundation. RCMA (Research Council for Makeup Artists) is one brand who makes a series of appliance foundations used to paint over latex or plastic foamed pieces in a number of shades.

sunburn

high point of face, fire red for face, darker red for lips,

Bruises and black eyes

A bruise, or contusion, is an area of hemorrhage (bleeding) located under unbroken skin, which is revealed externally through colored, clearly visible patterns. This most often results from blunt-force trauma. These areas of injury can be inflicted unintentionally during an accident or fall, or even from routine placement of an intravenous tube. However they can be intentionally inflicted during physical altercations. Bruises should always look as though they have worked from the inside of the skin outwards and never as though they have just been painted on. It is important to think about the shape, the impact and the unaffected areas, as well as the 'age' of the bruise. A bruise can usually be created using greasepaint only, although you may like to use an alcohol based product (i.e. an ink palette, Bluebird is popular and has an extensive range of colours) if it needs to be 'worn' for a longer period of time. The colors used are red, grey, purple, greenish-yellow and light cream or ivory and browns. The fresher the bruise, the redder it is; the older it is, the more yellow and brown it becomes. The stages of bruises are as follows: - Stage 1 = Red; Reddish blue or dark purple Stage 2 = Brown; paler brown Stage 3 = Yellowish-green; yellow (in the last stages of healing) Colors can be dabbed on with your fingers tips and then blended well or brushed and stippled. Always make sure that the edges are soft and the colours blended away rubbing the colour in well. For swellings associated with bruising you may want to add some third degree (or wax is good for an effect that doesn't need to be on the face for long periods of time) first before you start with your colouring. Swellings look most convincing on bony areas such as the eyebrow bone. When applying your bruise think about the rest of the face as well as the bruised area. The victim might be bruised in other places and appear pale from shock for example. What is the situation? If you are following a script make sure you know what caused the bruise? Remember never overdo the bruise (or any other casualty effect for film and television). If your critical eye won't accept the effect as believable, the camera certainly won't either. This applies even more so with film and with the use of high definition camera. If you are working in film and TV you more than likely will have continuity to consider. If so, you must be able to match the bruise exactly the following day or it may even be weeks later. Often you will need to apply dirt and scratches around the bruise or scar also. One way to build up a bruise is to work in the main colours and then smear a thin coat of wax over the top. Although bruise palettes are great to use you don't have to limit yourself to using them alone. You may like to mix your own colours (depending on the effect you are after) with a normal grease palette or any other colour you find that you think will work. 1. Create the darkest part of the bruise first. Always blend the edges making sure the bruise doesn't look too neat or too like eye shadows. 2. The bruise should look shiny too. A good place to make shiny is on the eyebrow bone. By adding some Vaseline at the last moment you will create a swelling effect on the highlighted area.

alginate

A dental impression material used for mouth/teeth casting. It is available from dental suppliers. Makeup artists use it to take a face or body cast of a person.

aquacolour

A water based cake makeup which is grease-free and activated with water. Applied with a damp sponge or brush it is used for body art and fantasy makeup. Washes off easily.

latex aging stipple

A latex product designed for wrinkled ageing effects. It can be obtained in different flesh colours from makeup suppliers.

plaster

A material used for making positive and negative moulds in prosthetic work. Available from artist suppliers.

tooth enamel

A material used for painting the teeth. It is available in white, cream, nicotine, black, gold and silver.

adhesives

A means of sticking different surfaces together. Various types are available for use with lace front wigs, eyelashes, prosthetics. Adhesives change often as research allows new developments with this product. (see Spirit Gum and Matte Adhesive)

latex

A natural rubber in a milk like white form, available in many grades for a variety of special effects. When dry, it forms a supple transparent film that resembles skin It is used on the face and body to create wrinkles, aging effects and surface wounds. It can also be used to glue appliances to the body. In addition it us used to create 3D special effects by pouring it into prosthetic appliances moulds to create a second skin of the desired body part (nose, ears etc).

scar material

A slightly matte scar making material with a tinge of pink colour that dries on application to form very realistic incised scars.

morticians wax

A wax used by Morticians for facial reconstruction on corpses. Makeup artists use it for modeling directly onto the face and body. It can be used when blocking out eyebrows and simulating wounds. It does not last for long periods of time and under hot lights.

third degree

A two part silicone product that is used in equal parts to simulate casualty effects.

tube plast

A very similar material as the scar material and can be used to form scars. It can also be dropped on the skin to simulate second degree burns or other blister effects.

slit throat

Apply pre mixed 3rd degree to the throat area, in a line. 2 Blend off the edges with isopropyl alcohol, using either your brush or fingers. 3 Keep a close eye on the material, and when it is near drying, using a crochet hook or modelling tool, tear open "incision and edges. 4 Insert thick dark blood to give depth to the cut, and then apply flowing blood effect. 5 Colour up the surrounding wound, to look a little swollen.

Bullet holes

Apply mixed 3rd degree material on to skin in an irregular oval shape (from 1 to 1 1⁄2 cm diameter). The size of the wound will determine whether it is an entry or exit wound. Exit wounds are generally larger. 2 Build up edge of wound creating a hole in the centre. Blend off the outer edges into the skin with cold cream. 3 Tear edges of the hole with a modelling tool. Torn edges should be more pronounced for exit wound, as the bullet is coming out of the interior and blasting the skin open. If you are creating an entry bullet hole, the bullet will push the skin inward rather than outward, therefore creating a less gruesome effect. seal with sealer, do multiple coats 4 Apply thick darker blood to the centre of the wound, to give depth of the hole, and then apply the appropriate coloured blood to the exterior of the wound. Gunshot injuries can vary widely from case to case since the location of the injury can be in any part of the body, with wide variations in entry point. Also, the path and possible fragmentation of the bullet within the body is unpredictable. Gunshot wounds can be either penetrating or perforating. In a penetrating wound, the bullet enters an object and remains inside, while in a perforating wound, the bullet passes completely through the object. In some cases, the wound can be both penetrating and perforating, in that it penetrates some part of the body, such as the head, but perforates certain parts, such as the skull or brain. In a perforating wound, the bullet creates an exit wound as it escapes the body. An exit wound differs greatly from an entrance wound. An entrance wound is surrounded by a reddish-brown area of abraded skin, known as abrasion ring, and small amounts of blood escape through. An exit wound, on the other hand, is larger and more irregular, with extruding tissue and no abrasion ring. There is far more blood that escapes an exit wound, and it can possible be profuse (lots of it). After the bullet enters through the skin, the skin retracts due to its elasticity. This will make the wound appear smaller than the bullet that has passed through, the skin is stretched before being perforated and then returning back to its original position, the diameter of the entry wound is often slightly smaller than the diameter (calibre) of the bullet that caused it. The bullet usually travels in a straight line, but its direction is unpredictable if it hits a bone. When this occurs, the bone may be shattered or the bullet may deflect and be sent to another area of the body. Usually there is more damage to the skin at the exit site than at the entrance sit.

Ageing makeup

As a makeup artist you will sometime in your career be asked to create an ageing makeup. There are three techniques for aging an actor. The first is a two dimensional technique with colour or, as we like to call it highlight and shadow. An artist can use this technique to create a subtle ageing for TV & Film or a more extreme application of this method can be applied for Theatre performance. Highlighting and shadow techniques can be used to make a person look tired, haggard or sick. The second technique, ageing stipple, refers to the way latex, sealer or other ageing products are applied. The aging products are used to create actual three-dimensional wrinkles in the skin as opposed to creating the illusion with colour only. More often than not both first & second techniques are combined when ageing someone up to 10 years older. The third technique and final technique is the use of prosthetic appliances to create any age. Prosthetic appliances are the most versatile and can be used on just about anyone to create almost any age. The general rule is anyone person requiring aging more than 15 years for Film or TV will usually require some prosthetic application. The creation of a convincing ageing makeup will draw on all the skills you have learnt so far. It must be as subtle as a straight makeup, but in many respects you are trying to achieve the opposite. Beginning any makeup application requires the makeup artist to analyse the face. As artists we must first identify the areas of the face we can use and exploit. If the make-up is intended for Theatre then the artist will use what the performer has to offer. In addition they will create whatever else may be required in order to get the appropriate age/character across to the audience. For Film & Television highlighting and shading techniques are used and require a more subtle & realistic approach. It is the intent of the artist to achieve realistic detail and age of a performer only 10 to 15 years older. It can be especially difficult in the convincing aging of a woman who has taken care of her skin, hair and dress style, so many women in their forties look at least 10 years younger. Here, performance, costume and the script must serve to establish their age level more than makeup in some cases. The less the character being played has taken care of himself or herself, the easier it will be to depict age in the face with makeup. Usually it is easier to show age in a man's face than a woman's as the facial and head hair can be grayed, and gray hair doesn't have the same stigma for men as it does with women! If you are asked to make a person in their 20's look 60 this is more difficult than making a person in the forties appear 60 due to the aid that some wrinkles and facial folds gained at 40 need only be strengthened, while for the 20 year old, they must be created. This is when prosthetic application comes in to play. Firstly when creating a character which requires ageing, remember that lines going down suggest age, and lines going up suggest youth. Study the faces of older people around you and you will soon see the great variety of ways in which ageing affects people's appearances. Heredity, race, character, lifestyle and environment all play a part in the ageing process. A well-built, fit old man, who has spent his life out doors in the sun & rain, will have a weather-beaten, ruddy (reddish) complexion and more wrinkles than someone who has spent the majority of their day-to-day time working indoors. People who have spent a great amount of time indoors are apt to appear much less weather beaten and often have smoother complexions The lines on the face will reflect the person's character and temperament. There is a difference between the caused by frequent laughter and those caused by illness or bad temper. As we become older our flesh becomes looser and the face starts to drop. In ageing makeup, therefore, you need to put in the shadows that normally you would be trying to conceal, adding bags under the eyes, lines from the nose to the mouth, and so on. To create a realistic ageing effect one of the most important things like any makeup is to choose shading & highlight colour that will harmonise with the persons own skin tone. Extreme care must be taken when using highlight and shadow. Otherwise your actor will end up looking made-up. Facial muscles must be followed and worked with. Avoid drawing arbitrary lines here and there. You can only go so far with this technique in television and more so with film. Lighting and close-ups must be considered at all times. A good DOP can help you achieve this type of ageing even more with lighting. Always use as little makeup as possible, you can always add to it. Don't forget that the hairstyle, Costume and total physical adaptability are part of the whole ageing process and it isn't all about the face but a collaboration of all aspects. For a more theatrical ageing look it is more about creating a contrast with the highlighting & shading colours. Basic checklist of places to age on the face You might only use some of the below techniques or all of them depending on the extent of aging required. As a general rule, it is best not to cover the face with any foundation but to commence on highlighting and shadowing first and then adding any skin toning that may be required. Look for age lines on the forehead to enhance or create them - asks the person to screw up the forehead and paint on in between lines. If there person has lines around the eyes enhance these by making them deeper - ask person to screw up the nose & eye area - also deepen outer corners of the eyes. Depress the inner corner of the eye socket by making it darker than the shadow between the eye and nose. Add shading at the temples. Add shading by emphasising the places where there are natural shadows already, every face is different. Strengthen dark circles under the eye and enhance any eye bags Lips & Mouth - Tone down natural lip colour, if lips are voluminous make them appear smaller & shadow corners of the mouth. You may like to use a very fine brush and draw the finest small lines on any small lip lines to accentuate them. Shade down the sides of the nose Whatever the shape of the face, be it plump or thin, you need to 'break up' the jaw line and reduce the firmness of youth. On a thinner face, the shadows and highlights will tend to produce a skull-like effect. To produce a double chin on a fuller face ask the actor to push her chin down then put a shadow in the fold and highlight the bulge where the double chin forms. Age jaw line by breaking it up, including highlighting and shading of the neck area. Enhance any veins around eyes and temples Paint in liver spots, or pigmentation on face & hands Colour up hands, add age spots, and enhance veins Add grey or silver to eyebrows & front hairline Dull down eyelashes - using foundations on the end of a disposable mascara wand or a small amount of an off white mascara applied gently thru the lashes. longer nose and ears lips get thinner, powder face to shop up any existing expression lines,,

artificial tears

Can be simulated in a number of different ways. Glycerine and water mix, with droppers into the corners of the eye. See also TEAR STICKS and TEAR BLOWERS

death makeup

Creating the illusion of a dead person requires changing the skin tones. The flesh of a light skinned person becomes grey, purple and yellow. Studying images of a corpse, though unpleasant for most of us, is the only way to really appreciate the changes we need to make. As usual, planning the makeup is very important. You will need to consider factors such as: - What caused the death? - Are there any wounds or marks on the body? - How old is the corpse? Although creating a realistic looking corpse takes much planning and experimentation, a corpse- like effect can be achieved using the following procedure. 1 Apply a 'death flesh' base. Take any natural colour out of the lips. 2 Stipple on green, yellow and purple tones to create a mottled affect behind ears, under armpits any crevices blood would have gathered into under the skin. 3 Define the face by using bluish grey tones and deepen the eye sockets and hollow out the temples and cheekbones. If visible, the neck will also need definition. 4 The hands will need defining, and the roots of the nail beds will need to become deeply discoloured. 5 Powder the skin to create a matt, dull lifeless appearance. 6 Although hair continues to grow for some time after death, you may wish to lightly powder the hair to take the shine and lustre down. States of Preservation Immediately after death Life is expired, but the muscles are still warm and flexible: blood is still evenly distributed around the body and chemical breakdown has not noticeably commenced Cool and Rigid Limbs become rigid, body temperature begins to decrease toward the ambient temperature but is still well preserved. Early decomposition Skin shrinks, making it seem as if the hair and nails are still growing Infestation Rigidity dissipated: insects begin to gather and lay eggs. Advanced decomposition Internal tissues decaying: maggots hatch and grow Bloating Stomach swells due to accumulation of gas: this can also cause a dark liquid to be discharged from the nose and mouth of the corpse: body exudes an intense and unpleasant odour Extreme decay Body shape becomes grossly distorted: face dark purple or green and tongue protruding Disintegration All soft tissue loses its form, converting into liquids and gases Skeleton All soft tissues have disappeared: insect and animal life has moved away: only bones and teeth remain

Dirtying down

Dirtying down is a very common makeup effect and one you may find yourself doing more often than you'd imagine. If you think about a lot of television dramas and films there is many an occasion when someone has been in a bush, mine, desert, swamp etc and has that 'broken down' look about them. This look is often used for 'heroes' such as 'Hercules' to give them a rugged persona. Dirtying down can be achieved using a sea sponge, with either black or brown greasepaint, brown aquacolour or Fullers Earth (made up in a muslin bags). The colour will be determined by the type of dirt needed; which in turn depends on the location and storyline. What has the character been doing? Head and Face Ask the artist to frown and pull in the eyebrows. Lightly apply the 'dirt' over the wrinkles caused by frowning. It is best to start lightly and build it up slowly. Put some 'dirt' around the nose area but be careful when applying directly on the nose, as you don't want the viewers eye to go straight to the dirt, as it is distracting. It needs to look more ingrained. Apply 'dirt' behind the ears, to the back of the neck, and under the chin taking down the neck. It is a real give away when the face is dirty and the neck is clean. Hands With a thin brush, apply the 'dirt' into the cuticles and rub around under the nails. Rub between the fingers and on the knuckles - in real life the creases always get dirt Dirtying Down and Blood Dark brown grease, pancake or aquacolour applied using a damp sea sponge is excellent for achieving a fast natural look for dirt. The large holes in the natural sponge prevent the makeup from going on too evenly. Some times (depending on what dirt effect you want) it is a good idea to use a dark brown first and then stipple over in other areas lightly with black so the dirt has more depth in certain areas. Don't forget the neck when dirtying down the face. Also remember to discolour and put brown or black under the fingernails and around the cuticles. Fill two spray bottles, one with 'blood', the other with water. When the action is to be filmed, at the last minute spray on blood, then water on top, which mixes in well with the dirt. Obviously there may be a wound involved, which needs to be considered when doing the makeup. Dust Bags Cut a medium/large square of muslin and lay down on a flat surface. Pour a small pile of fullers earth in the middle of the square and carefully bring the four corners together and tie together with a piece of string. Keep the muslin bag in another plastic bag, as they can get very messy. When a dust effect is required gently get out the bag and tap over the area needing dust. It can be used by itself or over dirt to achieve the acquired effect. Making Sweat To make sweat you need a small spritz bottle and fill it with about a quarter of straight glycerine and then fill the rest up with water. Make sure you shake it together well. Depending on how weak/strong you want the sweat to be you can mix in either more glycerine & less water or the other way around. Straight glycerine can get a little sticky! mess up brows and hair

scratches

EQUIPMENT AND MATERIALS • A coarse stipple sponge • Grease makeup either in a grey-brown colour or red depending on what effect you are going for. • Blood 1 Use a coarse stipple sponge with a small amount of grey-brown grease on it. Make sure you wipe 2. With a very fine brush, paint some 'blood' on different parts of the scratch marks. Add tiny dots of 3. Ensure you are very subtle with the blood or the scratches will develop into cuts rather than a 4. Sometimes you can apply a bit of red grease around the scratch but make sure you don't do it any excess off before using it so the grease doesn't go onto the skin too heavily. Draw it quickly across the area you want to create the effect and the sponge will leave small lines which will act as realistic guidelines for your scratches. congealed 'blood' unevenly so they will look convincing. scratch especially if you don't use a fine brush. evenly around the whole scratch and blend it well.

Burns

First-degree burns superficial, with damage confined to the outer layer of the skin. The area initially appears red and swollen, and over time the skin peels away and sometimes a few small blisters appear. Second-degree burns destroys the upper layers of the skin. The affected area displays blisters. Remember when creating a second-degree burn to surround it with a first-degree burn. Third degree burns Destroy the epidermis and dermis layers of the skin. Scarring is caused and this typically requires skin graft to repair. Third degree burns can cause much more severe lacerations. The flesh may even be charred and black. Around this you should place second-degree burns and towards the edge, first degree burns. It is a good idea to use a skin prep (like dermashield) on the actors skin before applying any burns material. This will ensure the best adhesion. The best product to use for coloring is an alcohol-based makeup ink like 'Skin Illustrator', 'Reel' or Bluebird these are recommended brands. Mixing the desired colors you want to create a burn using an iso alcohol in a spritz (depending on whether how extreme you want your burn) starting shading in your burn. Cream colours can also be used. Gelatine Product is a cost affective way of creating realistic burn effects • Put some gelatine in a bowl and mix equal parts glercerin & water. • Pop in the microwave for 15 seconds at a time stirring gently in between microwave bursts. • When all the gelatin crystals have dissolved it is ready to use. • This product will be burning hot and needs to be left for 30 seconds before trialing on your hand. Never apply directly to skin before testing the heat. • You will need to work quickly and efficiently with your application, gelatin sets quickly. • If the product starts to set during application give it another blast in the microwave. • Let the gelatin form small droplets around the burn, like blisters. Don't overload too much product onto the skin use a spatula to disperse and sculpt. • To create shiny effects of blistered skin apply Vaseline, KY jelly or straight glycerin. • Puncturing the gelatin when dry and pushing blood inside can create Blood blisters. The most severe part of the burn should have the greatest depth. Around this the effect should fade away, with blisters and redness. Add charcoal powder for a blackened burnt charred effect. Alternative techniques for a third degree burn 1. Place a single layer of tissue (make sure you tear the shape do not cut it with scissors) across a layer of painted latex on the face (or wherever the burn is) while it is still wet. Cover the tissue with another layer of latex. Another alternative is pushing Vaseline underneath areas of the latex. 2. For a charred flesh effect, add a small amount of cotton wool. Apply another layer of latex. When the latex is dry, spray the area with black hair spray. When dry you can peel this back to the skin in bits; this will resemble charred skin. 3.Tuplast is also a good product that comes in a tube and you can use to squeeze droplets onto the skin to create blisters. Great for creating a 2nd degree burn with blisters or adding large blisters to a 3rd degree burn. 4. 3rd degree two part silicone product is also great for creating smaller laceration type burns & electrical burns.

Frostbite

Frostbite is the damage to tissues from freezing. The blood vessels contract and cause loss of oxygen to effected body parts. Results are formation of ice crystals within cells, rupturing the cells and leading to cell death. It most commonly affects areas that are further away from the body core and have less blood flow. These include your feet, hands, nose and ears. There are three degrees of cold injury: Frostnip, superficial frostbite, and deep frostbite 1st degree - Irritates the skin 2nd degree - Blister but has no major damage 3rd degree - Involves all layers of the skin and courses permanent tissue damage The affected skin may be slightly flushed. The skin changes to white or greyish yellow as the frostbite develops. Pain is sometimes felt early but subsides later. Often there is NO pain; the part being frostbitten simply feels intensely cold and numb. In superficial frostbite, there will be an area that looks white or greyish and the surface skin will feel hard but the underlying tissue will be soft. With deeper involvement, large blisters appear on the surface, as well as in underlying tissue, and the affected area is hard, cold and insensitive. Destruction of the entire thickness of the skin will necessitate skin grafting and will constitute a medical emergency, because gangrene may result from loss of blood supply to the injured part.

palette knife

Is used when working with casualty effect products. It can be used to scoop out products and to also blend edges away on the skin.

livor mortis

Livor mortis appears as purple discoloration of the skin in the "dependant" parts of the body (Those parts that are the lowest points according to the position of the body). This discoloring is caused by blood settling out of the capillaries and draining into the lowest gravitational regions of the body: the colour is purplish because it is a deoxygenated blood pigment. Livor mortis begins immediately after death but normally takes 2 hours before it becomes visible. Between 4 and 8 hours after death. The livor pattern is "unfixed" and can shift if the body is moved, for example, from face up to facedown. Between 8 and 12 hours after death the lividity becomes "fixed" and will not shift even if the body is moved.

tattoo coverage

Permanent tattoos have become increasingly popular over the last decade and as a result most makeup artists will be asked to conceal tattoos at some stage in their career. This may be for a special occasion e.g. a wedding, or because the client no longer wishes the tattoo to be visible on a day to day basis. You are often asked to cover up a tattoo each day for the duration of a production as the artwork of the tattoo does not fit the character the actor is portraying or for the 'period' the film is set in. Colour Wheel Reminder Question: How do we determine complementaries? Answer: They lie opposite each other on the colour wheel • What is the complementary of red? • What is the complementary of blue? • What is the complementary of yellow-green? • What is the complementary of blue-green? When covering skin areas that are tattooed you should begin by studying the colours that appear within the area. Once you have decided on the dominant colours you must then take steps to neutralize them prior to matching the area to the surrounding skin tone. It is important to look carefully at the colours you are trying to neutralize. If the colours are not in a true 'primary state' (they are more likely to be subtle mixes of secondary or tertiary colours). For example, a purpley-red will need to be covered by a mixture of yellow and green. • To cancel out blue in the skin, apply a layer of muted orange camouflage cream or ink. • To cancel out purple in the skin, apply a layer of muted yellow camouflage cream or ink. • To cancel our green in the skin, apply a layer of rose (red, its true complementary, could be more • To cancel out yellow-orange in the skin, apply a pale lilac camouflage cream • To cancel dark brown areas on light skins, apply a layer of white camouflage cream or ink mixed with • To cancel dark pigmented areas on black skins, apply a layer of muted orange camouflage cream or • For dark skin tones the orange can be mixed with a little of the matching skin tone cream or ink to dull Basic Step By Step Application of Makeup or Inks to Cover Tattoos 1. Cleanse and wipe the area with cotton pad and toner or IPA to remove surface oil. 2. Study the area to be covered and note any of the predominant colours. If neutralization is 3. Set with powder (if using cream) using a velour powder puff. 4. While you are waiting for the neutralizing layers to set, begin to mix up the colour that matches difficult to cover with the skin tone) camouflage cream or ink. a little of the matching skin tone cream or ink. inks. down the intensity of the orange. 5. Using a brush or sponge apply a thin layer of skin tone matching camouflage cream. Make 6. Set with powder and wait a few minutes before brushing off any excess powder. Apply further 7. Once you are happy with your colour match and the tattoo is completely gone you can finish required block out using a thin layer of the complementary coloured camouflage cream or ink. If original skin colour bleeds through you may need to add another thin layer. the surrounding skin tone. Try to keep the mix as simple as possible for future reference. If using it again you can premix enough of the colour to put into a container for the next application. sure you blend out to avoid any hard edges. layers as required making sure you wait a few minutes between each layer. with a fixier spray to seal it.

appliances

Prosthetic pieces made from various products e.g. latex or foam rubber, which are applied to a persons face and body to alter their natural appearance.

Rigor mortis

Rigor mortis refers to the state of a body after death, in which the muscles become stiff. It commences after around 3 hours, reaching maximum stiffness after 12 hours, and gradually dissipates until approximately 72 hours after death. Rigor mortis occurs due to changes in the physiology of muscles when aerobic respiration ceases. Muscles are made up of two types of fibre. These fibres have connections between them that lock and unlock during muscle contraction and relaxation. These connections are controlled by a biochemical pathway within the cell, which is partially driven by the presence of calcium ions. The concentration of calcium ions is higher in the fluid surrounding muscle cells than it is inside the cells, so calcium tends to diffuse into the cell. High calcium levels inside the cell drive the biochemical pathway in the direction that maintains muscle contraction. To relax, muscle cells must expel the calcium ions from the cell and this requires energy molecules to pump across the cell membrane. After a body had died, the chemical reaction producing these energy molecules is unable to proceed because of a lack of oxygen. The cells no longer have the energy to pump calcium out of the cell and so the calcium concentration rises, forcing the muscles to remain in a contracted state. This state of muscle stiffening is known as rigor mortis and it remains until the muscle proteins start to decompose.

3rd degree

SILICONE MODELING COMPOUND Third degree is a unique silicone prosthetic material With limitless applications for the professional make-up artist, it is simply the highest quality "out of the kit" buildable material available. Available in three realistic translucent flesh colours Requires no heat to cure Easily mixes 1:1 by eye Will cure in less than five minutes Composed of medically safe platinum silicone components An excellent ridge filler not unlike "bondo" but translucent More durable than any gelatin, and will not break down from heat or perspiration. Cannot be stained with artificial blood Can be painted with almost anything Glues well with medical adhesives Can be cleaned and reused for reapplication Can be cast in almost any mould in less than five minutes THE RULES Third degree is a platinum based silicone formula. Therefore, physical contact with certain incompatibles can affect its cure. Sensitivity to such materials only exists while the silicone is in an uncured state. Do not use latex gloves, use vinyl gloves No contact with any kind of latex while in an uncured state, (latex cosmetic sponges included) Always use skin prep on a subjects skin before applying wet material, to ensure best adhesion. Directions for "Build-up"s Mix material thoroughly and apply to clean dry skin. Use 99% alcohol and a brush to smooth and model the materials. Urethane sponges can be used to texture surface, and prevent shine. A hair dryer can be used to accelerate the cure. THIRD DEGREE Creates durable and realistic appearing casualty simulations. Utensils required X 2 plastic spatulas X 1 metal spatula X 1 mixing palette, (glass or metal) Isopropyl alcohol dispenser Brushes to blend Orange stick or modelling tools No colour powder Silicone foundation bases to colour Wet ones Cotton buds Powder Puff Stipple sponge (f/x colours, blood, etc) Preparation MIX 1:1 RATIO of A & B - USE SEPARATE SPATULAS to take product out of the jars. If you accidentally use the same spatula in both A & B you will cure the product, and it will be unusable. This is the reason why you need 3 separate spatulas. When you have equal amounts of product on the mixing palette, use the third spatula to mix them together. Once the products are mixed together you will need to work quickly, you have approx 5 mins before the material cures. General directions Apply the 3rd degree to clean dry skin. If the 3rd degree wound is going to be on for several hours, you may want to tack a thin layer of adhesive onto the skin first. Use 99% isopropyl alcohol and a brush to smooth and model the material. To blend the outer edges you can use isopropyl with your fingers to help thin and smooth. Wait a few moments, as the 3rd degree is beginning to set, you can then start to create the effect you desire, with your modelling tools. Stipple sponges are great for creating texture on the surface, and prevent shine. A hairdryer on medium heat can be used to accelerate the cure.

scars

Scars may be new or old, inverted or protruding. As with all of your makeup application you need to plan the effect according to the needs of the production. There are many products on the market which create scars and it is a good idea to experiment with various types of 'wax' and 'plastic wax' to see what different effects you can get. Different types of waxes Of all the effects materials for the makeup artists, wax is one of the oldest and still most useful for temporary use. Old nose putty was a resin-wax mixture that required some manipulation with the fingers to get it soft enough to work with. Being a heavy material, it often slipped out of place or distorted easily in warm weather. It is seldom, if ever, used in film and television. A good way to start learning how to apply a scar is using 'mortician's wax' (which is a soft wax used by morticians on cold bodies). It softens readily in the heat but is not great to use when an effect has to be on the face for more than a couple of hours. RCMA makes an excellent plastic wax material that holds its shape better and is far more adhesive than former outmoded waxes. MAKING AN OLD SCAR USING INKS FOR an old faded out scar you can use inks & a brush to draw on a faded old scar, making it slightly darker in one area to break up for camera. Another method is to use a crimson lake pencil with a sealer. (Good colours to use are faded pinkish browns). For both methods powder all over to give a faded effect. MAKING A NEW RAISED SCAR USING BEN NYE SCAR MAKING MATERIAL. Firstly coat the area to be built up by the SCAR EFFECTS GEL (or any other material you wish to use) with a thin application of Matte Adhesive and tack with your finger for about 10 seconds until 'tacky'. Scar Effects Gel needs to be submerged in hot water for it to turn into a workable liquid form (takes a couple of minutes) Next apply the gel with a dental spatula onto the adhesive and begin to smooth out and achieve the desired shape. Gently blend your edges away to nothing without over working the gel; you will need to work quickly before it dries too much. It is important to look at your scar from all different angles to check it isn't too raised and high in the middle. If you want the scar to look 'new' & raised you can paint crimson lake or inks down first in the shape you desire & then apply the scar effects gel on top. (Break the colour up for camera) Contracted scars using Collodion Collodion is a strong smelling product so should be avoided right by the eye. It comes in a small bottle with a brush and can be applied either straight from the bottle or by using a smaller finer brush to create a finer effect. Always test the skin for adverse reactions first if the actor hasn't had this product used on their skin before. Test a little where it won't show and not on the most delicate skin Draw a faint line using crimson lake or inks where the old scar is going to go. Stretch the skin using your thumb and your index finger with one hand and apply the collodion onto the skin in a thin layer with the other. Wait a minute in between layers before applying another layer. Collodion causes the skin to pucker up and go tight and looks like a very old scar with quite a subtle appearance.

spirit gum

The original adhesive material for makeup that is a solution of rosin in alcohol or other solvents. Although it has fairly good adhesion, after a period of time the dried gum can sometimes take on an unwanted shine and, along with added perspiration, lose much of its adhesiveness and crack off the More up to date adhesives have since been made and, although rosin is still a main ingredient, other materials have been added and combined to create and adhesive that not only has better stick but also does not have unwanted shine and stands up better to perspiration.

stippling

The technique of using an open-pored sponge and applying makeup with a dabbing movement in order to provide a textured effect.

sealers

These can be used as a surface sealer for wax. They can also be used in conjunction with other materials to cover eyebrows and seal latex pieces and wherever a film former is required.

temporary tattoos

Things to think about before designing a tattoo. Firstly you need to find out how long the talent "who needs a tattoo' is required for on the job it might be a one day photo shoot or a 6 month TV series to a 4 month movie. Secondly you will need to find out what the budget will be for the job this will then ascertain what method you use to create the tattoo. For film & TV productions tattoos will sometimes be required everyday for a substantial period of time. In these cases it is advisable to have a customised tattoo designed for the character and made up into a transfer. Transfers take approximately 5 minutes to apply and will save a lot of time & money in the long term and they work well on High def cameras. Stamps are a cheaper method but are often time consuming and tend to be used for lower budget shows. Will the tattoo need to be recreated on more than one occasion? If so, you must take a photo of it and do measurements of where it is placed for continuity so it is placed in the same position each time. What type of character is the tattoo for (biker, thug, pop star, convict, mainstream fashion, editorial model photo shoot or everyday person) you will need to research your character and look for designs to suit. Look for designs on the Internet, look at picture files at tattoo parlours, books & magazines. Are there any restrictions? You will need to work out if a hand-painted design will take more time to create daily and remember that time is always money!! So you might be better off to spend more initially and get transfers made up to save additional artists and money over time. Should the tattoo look old or new? Old tattoos are more faded. Work out the age of the character & how old the person was when they originally got it. Will the performer be submerged in water or in a scene with water for example a shower scene. If so you need to waterproof the tattoo by using a sealer or fixier spray. How big is the design and will it need to be applied in sections. This should be worked out in a makeup test before the first shoot day. Various Tattoo methods Free hand - using pens & inks Stamps - used mostly used for outlines or if the design is solid The rubber stamp is built up for easy application, inked and applied to the artiste's skin - you can colour in with non-toxic felt tip pens or inks - always powder after colouring Transfers - pre-made off the shelf or custom made designs Easy to apply - always cut out close to the design this way you won't get a sticky layer outside of the tattoo design, this can be removed with iso alcohol. There are several steps to take when designing a tattoo to be made into transfers. • Firstly either free hand a drawing of the tattoo or look for reference from tattoo parlours, books, internet etc. • The tattoo will need to be drawn up either by yourself or a professional tattoo designer and scaled to fit the performers arm, hand, leg or other body part. The design will need to be approved by the Director/Producer. • If possible do a makeup test with the tattoo design drawn on to scale with clear reference photos for the director/producer etc to look at prior to getting it made. • When the design has been locked off and approved it will need to be scanned onto a computer and scaled to the exact size and emailed to the transfer company in a pdf or jpeg format. • Follow up with an email stating any specific requirements eg tattoo to look aged by 20 years, colour requirements and how many tattoos to be made and expected delivery date. To work out how many tattoos you will need it is necessary to ask the production, More often than not the 1st assistant Director who is responsible for creating the shooting schedule will be able to work out with you how many days the talent will be required on set. This way you can work out how many repeat tattoos you will need, always adding on a few extra days for re-scheduling & re-shoots. Stencils - these can be bought or made by the artist and coloured with pens & ink or airbrushed using alcohol based inks. Ensure he talents clothes are protected. Prep the skin by wiping with alcohol first. Place the stencil on the skin ensuring it is tight to the surface. It can be fixed in place with a little masking tape Load the airbrush and apply the product colour as desired over the stencil, keeping your hand moving at all times. Allow the colour to dry and carefully remove the stencil Any over spray can easily be removed with an alcohol wipe Complete by airbrushing a sealing product over the tattoo to increase its longevity and maintain the vibrancy of the colours. Or alternatively dust with transparent powder and rub off excess. Fixier sprays can be used to waterproof all tattoos and help them not to bleed.

isopropyl alcohol

This is a good sterilizing agent to clean brushes/tools and to remove adhesives used on prosthetic pieces and lace front wigs. Makeup artist should use a cosmetic grade IPA which is 99% alcohol.

Tissue latex ageing makeup

This technique is only used on mature actors who you want to age up or is great to use for theatre on both young and old as it reads well from a distance. Firstly you must prepare the skin with DERMASHIELD. Apply to the entire area where you are going to be putting latex. Allow five minutes for it to settle on the skin properly. If your character is wearing a wig now is the time (while the dermashield is settling) to plait hair in preparation for the wig. Make sure there are no fly away hairs around the face that the latex could attach to. Have the tissue ready to go by separating into one-ply sheets, feather out all edges by hand (never use scissors). You will need approximately 8 sheets, depending on how much of the face, hands you are doing. 1. Pour a small amount of latex into a bowl. With a sponge apply a layer across the forehead then take a sheet of tissue and lay it as close to the hairline as possible. Gently smooth it down towards the eyebrows trying to make it as flat as tight as possible (the less wrinkles and air bubbles the better). 2. Take more latex and stipple it over the tissue, careful not to let it tear and make sure the tissue is wet through. 3. Take a small hard brush with a little latex on it and tear the wet tissue gently along the eyebrow flattening it down and blending it. 4. Dry with a hairdryer as you go, stretching the skin where possible. When dry, powder over the tissue area. 5. Continue on with a cheek section, then under the eye and on the eyelid. When applying to the eye area use a brush instead of a sponge and pay careful attention not to get any latex in the eye. Be particular with the edging that it is as close as possible and well stuck down. Try to make the joins of the tissue as subtle as possible (match frayed edge to frayed edge) and try to make the joins in areas were there is natural aging lines i.e. line joining nose to mouth, and lines out from the eyes. 6. Next do a section along the nose, chin, upper lip (between mouth and nose) and lips. Don't forget to do the neck and hands and any other exposed part of the body. 7. Once the tissue and latex is completely dry and well powdered gently stipple on foundation (The makeup school's special mix!) 8. From a derma palette (aim for a good 'shadow colour'). Especially define the inner corner of the eye, line from nose to mouth and chin line. 9. Brush eyebrows down and use temple white, grey up eyebrows subtly. 10. Now you are ready to put your wig on and pin, followed by (if you are doing a woman's makeup) a lovely granny makeup.

Blood types and application

What colour is blood..... really? Human blood is made up of a liquid part and a solid part. The liquid part, when it is still in the body, is called plasma. It is yellowish in color. It makes up about 50 - 60 % of our blood. The solid part is made up of cells; red blood cells, white blood cells and platelets. White blood cells and platelets have no color but appear white when they are grouped together, as when blood is separated in a centrifuge. Together they make up less than 1 % of the blood. They are pictured in textbooks as having a variety of colors. This is because they can be stained with various dyes after they are removed from the body then placed on a glass Slide. Red blood cells are always red. Red blood cells are red because they have a protein called hemoglobin which contains iron. Iron likes to bind oxygen. Oxygen combined with iron is red. The more oxygen iron has bound to it, the redder it is. It is true that some persons have "iron poor blood". In this case their red blood cells are less red than normal, but they are still red. The iron in the hemoglobin of red blood cells is what carries oxygen to every tissue in the body. Why some people may think that blood can be blue is probably because of the color of our veins, which may be visible near the skin's surface. They appear blue because they do not get as much oxygen as the other tissues. When the red blood cells go to the lungs, the iron in them picks up oxygen. Blood then goes to the heart and then to the rest of the body through Vessels called arteries. The arteries appear reddish as do many other Organs, because the iron in the blood gives up its oxygen to the cells that need it as the red blood cells travel throughout the body. By the time the Blood is back on its way to the heart and then to the lungs it has less than half as much oxygen as it did before. The veins, therefore, do not get as much oxygen as the other tissues and they appear bluish. The bottom line is: blood is red. Deoxygenated blood is generally darker in colour. Fake Blood Fake blood can be made or bought in many different forms for film and television. There may be a need for runny blood, thick blood, congealed blood, old stale blood and even edible blood, or eye blood that is safe to use in the eyes. If you are making blood or have chosen a blood colour from the shelf, the first thing you need to check is with the DOP (director of photography) if any gels will be used on the lights or filters on the lens that will alter the colour of your blood on camera. If the DOP is planning to use a non-natural mood enhancing lens or lighting gels, then it would pay to compensate the colour of the blood as it may look perfect to the naked eye, but not on film. For a splatter effect, runny bloods work well applied using a spritz bottle and at the last minute before filming, the makeup artist can run in and spritz the actor. Using water with this in another spritz bottle mixes well with the runny blood. You can also use runny blood in a dropper to have more control and it's great for topping up a wound at the last minute before filming. Thicker blood is great for using to dress in an open cut and is good to put in the wound first to give it some depth before putting the runny blood on top. Congealed blood is also good for cuts to give them some depth but is also great for using on scratches when the smallest amount is needed in certain places to give the scratch depth, you have more control. Edible blood can come in liquid form or sometimes in capsules. The capsules require a little practice to get the timing right. The idea is that actor has the capsule placed in their mouth and chews at the right time, breaking the seal and setting the blood free. Edible bloods are made out of non-toxic safe ingredients and have no soaps or glues that are harmful to consume. There are also special bloods that are safe to use in the eyes. It is a good idea when you are making your own blood to put a preservative into your mixture. This will mean that you can bottle it up for you kit and it will keep for a much longer length of time. You should also always test your blood before applying it on an actors skin as sometimes it can stain the skin. Always discuss with the director how much blood is required. It's best to build up your blood application slowly, especially if you are required to put on a decent amount. It's much easier to add more than to have to remove it! Wait until the actor is "in situ" in order to know which direction their head will be facing etc to establish the direction the blood should be falling. Be mindful of the actors costume and leave it up to the wardrobe standby to apply the blood on the costume (unless they ask for your assistance). Remember the makeup artist looks after the body and skin and anything applied directly to it, not the clothes.

stubble paste

Wax in stick form that is used on the face before applying chopped up hair to create beard stubble.

Directly applied casualty makeup effects

Without the use of pre-made prosthetic pieces, directly applied casualty make-up is a frequently used special effect for the make-up artist working in television, film and theatre. There are many different ways to achieve similar effects and all make-up artists have their own techniques and favorite products to help them achieve the appropriate effects, which may vary from dramatic alterations to minor 'on set' changes. Remember, you are trying to create an illusion. There is nothing to be gained from over complicating a make-up effect if it won't be seen. Use what is appropriate, safe and time effective and do not experiment with new products or techniques on set. Researching reference material As with all aspects of your work as a make-up artist, it is important to research all the effects you are trying to create. Medical journals (though not for the squeamish) are an excellent source of reference material. You cannot hope to create realistic effects without fully appreciating what the real thing look like. It is a good idea to start collecting images of real injuries, wounds and skin diseases. In addition start to collect information about the work of other make-up artists. Trade magazines like 'Make-up Mag' are a useful resource for this information. Keep all the information you have collected in a reference file. In order to create realistic effects it is important to understand the injury. There are several questions, which you need to ask. How was the character injured? What effects do the particular injury have on the body? Are there any side effects of the injury? How old is the injury

What is a bruise

You fall off your bike, bang your shin on the coffee table (that you swore you would move months ago) or run into a wall and wake up with a wallop of a bruise. What is a bruise, and what can you do about it? A bruise (medically referred to as a contusion) is caused when tiny blood vessels are damaged or broken as the result of a blow to the skin (be it bumping against something or hitting yourself with a hammer). The raised area of a bump or bruise results from blood leaking from these injured blood vessels into the tissues as well as from the body's response to the injury. A purplish, flat bruise that occurs when blood leaks out into the top layers of skin is referred to as an ecchymosis. Why do bruises occur more frequently in some people than in others? The injury required to produce a bruise varies with age. While it may take quite a bit of force to cause a bruise in a young child, even minor bumps and scrapes may cause extensive bruising or ecchymosis in an elderly person. Blood vessels become more fragile as we age, and bruising may even occur without prior injury in the elderly. Bruises change in appearance over time, and it is possible to tell by looking at a bruise how old it is. When it first appears, a bruise will be reddish looking, reflecting the color of the blood in the skin. By one to two days, the reddish iron from the blood undergoes a change and the bruise will appear blue or purple. By day six, the color changes to green and by day eight to nine, the bruise will appear yellowish-brown. In general, the bruised area will be repaired by the body in two to three weeks after which the skin will return to normal. What if the bruise doesn't get better or the area stays swollen? On occasion, instead of going away, the area of a bruise will become firm and may actually start increasing in size. It may also continue to be painful. There are two major causes for this. First, if a large collection of blood is formed under the skin or in the muscle, instead of trying to clean up the area, the body may wall the blood off causing what is called a hematoma. A hematoma is nothing more than a small pool of blood that is walled off. This may need to be drained by your health-care practitioner. A second and much less common problem occurs when the body deposits calcium, the material that makes up the majority of bone, in the area of injury. The area becomes tender and firm. This process is called heterotopic ossification or myositis ossificans. This condition is diagnosed by x-ray and requires a trip to your health-care practitioner.

tuplast

makes tiny little blisters

pros-aide

acrylic based adhesive, contact adhesive,

burns

are of course different types of burns ranging from 1st degree, usually causing only redness and a few blisters to 3rd degree, which can be rather gruesome with burnt charred skin. 3rd Degree material can be used for all 3 degree's. You can create blisters, peeling and char burnt skin. 1 You can apply colour to the skin with Reel or Skin illustrator inks, or use your standard F/X Burns & Blisters crème. The colours you would use are burnt coral, red to highlight hot, raw areas, plum and black to indicate burnt skin, and sometimes you can use a small amount of yellow to create the blistered effect. You can insert some blood to areas for a freshly burnt look. 2 Apply a thin layer of third degree over the top of the coloured up area, as the material is drying you can peel back, to form open blisters and "raw" areas. 3 Alternatively you can apply to clean skin a thin layer of 3rd degree material, and as it is drying create the texture you desire. You can then colour over the top of the peeled away skin and insert colour. 4 For a blackened charred look, you can apply charcoal powder. 5 Dab on Glycerine if you desire an oozing effect.

inks, ink pallettes

are solidified inks activated with isopropyl alcohol Do not use water, acetone, or any other solvents to activate this product.) Comes in a variety of shades, from neutral flesh tones, to primary tones. Colour can be applied with a brush or sponge, and has long lasting affects. Be aware to NEVER use close to eye line area (Blue Bird is a popular company who make inks for film and T.V)

bruise/contusion

bleeding under skin from blunt force, the fresher the redder, the older the browner, stage 1- red reddish blue dark purple, stage 2- brown paler and stage 1 colours, redness close to eyes, apply grey where red was, stage 3- yellowish green on very outside, where it was black before put red, green where it was red, heaps more green than yellow. swelling only occurs on bony sections

crying

blood red on inner rim. menthol stick on q tip near tear duck NOT in eye. tear drops, tilt head back and close eye

Clean grease

good for nooks and crannies of hand

gelatine

is a translucent, colourless, brittle (when dry) substance derived from the collagen inside animals' skin and bones. It is used by makeup artists for directly applied casualty effects and for making prosthetic pieces.

telesis

silicone based adhesive

fake blood

there a huge range of bloods available on the market. Some are more staining on the skin and clothes than others. Bloods can range from mouth to concealed bloods.