The makeup artist handbook

THE MAKEUP ARTIST HANDBOOK

Second Edition

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THE MAKEUP ARTIST HANDBOOK

Techniques for Film, Television,

Photography, and Theatre

Second Edition

Gretchen Davis and Mindy Hall

AMSTERDAM  •  BOSTON  •  HEIDELBERG  •  LONDON

NEW YORK  •  OXFORD  •  PARIS  •  SAN DIEGO

SAN FRANCISCO  •  SINGAPORE  •  SYDNEY  •  TOKYO

Focal Press is an imprint of Elsevier

Illustrators: Robert Revels (www.robertrevels.com), Devon Keene

Drawings for shapes: Dan Gheno

Drawings for color: Don Jusko

Cover design: Mary Birchler

Focal Press is an imprint of Elsevier

225 Wyman Street, Waltham, MA 02451

The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK

© 2012 Gretchen Davis and Mindy Hall. Published by Elsevier Inc.

All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or

mechanical, including photocopying, recording, or any information storage and retrieval system, without

permission in writing from the publisher. Details on how to seek permission, further information about the

Publisher's permissions policies, and our arrangements with organizations such as the Copyright Clearance

Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions.

This book and the individual contributions contained in it are protected under copyright by the Publisher

(other than as may be noted herein).

Notices

Knowledge and best practice in this field are constantly changing. As new research and experience broaden our

understanding, changes in research methods, professional practices, or medical treatment may become necessary.

Practitioners and researchers must always rely on their own experience and knowledge in evaluating and

using any information, methods, compounds, or experiments described herein. In using such information

or methods they should be mindful of their own safety and the safety of others, including parties for whom

they have a professional responsibility.

To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability

for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or

from any use or operation of any methods, products, instructions, or ideas contained in the material herein.

Library of Congress Cataloging-in-Publication Data

Davis, Gretchen.

The makeup artist handbook: techniques for film, television, photography, and theatre / Gretchen Davis,

Mindy Hall. – 2nd ed.

p. cm.

Includes index.

ISBN 978-0-240-81894-8

1. Film makeup. 2. Television makeup. 3. Theatrical makeup. I. Hall, Mindy. II. Title. III. Title: Techniques

for film, television, photography, and theatre.

PN1995.9.M25D38 2012

792.02'7–dc23

2011038123

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

For information on all Focal Press publications,

visit our website at www.elsevierdirect.com.

12 13 14 15 5 4 3 2 1

Printed in China

v

CONTENTS

Preface vii

Acknowledgments ix

Chapter 1 Shapes 1

Chapter 2 The Body 17

Chapter 3 Color 33

Chapter 4 Lighting 43

Chapter 5 Technology 57

Chapter 6 Foundations 65

Chapter 7 Beauty and Basics 79

Chapter 8 Design 105

Chapter 9 Hair 145

Chapter 10 Airbrush 167

Chapter 11 Effects 189

Chapter 12 How to Be a Pro 243

Cosmetics, Tools, Labs, and Effects 267

The Crew 275

Glossary 279

Professional Library 285

The Pros 289

Unions 297

Index 299

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vii

The Makeup Artist Handbook has become our journey into writing about what we do, how we do it,

and why we do it. The Second Edition gives updated information, with new artists and products,

and the latest in innovations and techniques. Our pro tips and artist quotes will inspire you and give

you an advantage on the job. Our new addition of on-the-job, professional examples written from

the set, gives you insight into a moment, or day, in the life of a professional Makeup Artist, with

invaluable lessons from the field.

Our goal has always been to pay it forward and share the experience and knowledge of our careers

in makeup, to provide the next generation of artists with the most real, timely knowledge from

many points of view. The original idea was simple: think outside the box, include as many of our

colleagues as possible to share their expertise and knowledge, and give the book as many “voices”

to learning as possible. We had no idea how rewarding this experience would be, not only for

you but for us—we have been inspired. Our global group brings knowledge rich with talent, skill,

and innovation. This community's generous nature to share and mentor from their phenomenal

experience is your gain, and to your advantage. You are learning from some of the best of the best!

Learning from one standpoint puts the students at a disadvantage and our global base gives you

more insight into working as a freelance Makeup Artist, with all the skills, knowledge, and protocol

that are required of you. By exposing you to as many different approaches as possible you will

learn to work outside the box and be able to handle the flow of your first day on any job. There

are countless ways to go about creating and applying makeup, so we have included examples from

different artists to develop your hand, your instincts, and open your mind.

The innovations within our industry keep us constantly learning, evolving, and moving forward with

our talents. This is a career where you never stop learning, so for us, this time of updating products,

techniques, and added information is exciting, necessary, and an opportunity to continue sharing the

experience.

We assure you that all product references, lists of industry standards, and the techniques in this book

are genuine working examples in today's market. The lists are a culmination of our 25-plus years of

experience, interviews with our colleagues in all mediums, and done without bias or favoritism. No

endorsements or promotional fees by any company or individual were paid to us or our colleagues

in the preparation of this book. We are part of an international community: Sharing knowledge,

product information, and techniques are all part of the lessons learned and shared with each other

through our travels and our commitment to the art.

PREFACE

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i x

ACKNOWLEDGMENTS

Once again, we could not have done it without our amazing pros, who continued to share, update,

and inspire us. We are very grateful to have all of the original contributors and designers from the

first edition join us again on the second edition, and we are thrilled to include new artists and pros

to this global group. Their vast contribution of knowledge, talent, and experience to this edition is

humbling.

Tremendous thanks to Darla Albright, Matiki Anoff, Gary Archer, Mary Birchler, Fred Blau, J.C.

Cerville, Debra Coleman, Richard Dean, Ken Diaz, Daniela Eschbacher, Kris Evans, Kim Felix-Burke,

Dan Gheno, Steven Horak, Don Jusko, Devon Keene, Erwin H. Kupitz, Bradley M. Look, Gerd

Mairandres, Randy Huston Mercer, Gil Mosko, Michele Mulkey, Matthew Mungle, Kenny Meyers,

Dina Ousley, Christina Patterson, Robert Revels, Susan Stone, Joseph N. Tawil, Christien Tinsley,

Nancy Tozier, Kazuhiro Tsuji, Jenny King Turko, Paul Wheeler, and Patty York.

To S.E. Radich, there would be no text without you. You kept us sane and organized with our crazy

schedules, multiple time zones, locations, and our long hours on set. Your amazing patience, support,

and input have made this book complete. Unending thanks to you for your invaluable contribution in

getting us to the final manuscript. Once again, we could not have done it without you.

Much thanks to Mary Birchler Design, for our beautiful book covers and elegance throughout both

editions of this book. Thank you to Robert Revel and Devon Keene, whose illustrations give visual

inspiration and life to our text.

Thank you to Focal Press and Elsevier for recognizing the need for this book. Specifically, thank you

Elinor Actipis for your continued support, guidance, and encouragement through two editions.

We thank our friend, Jeffery J. Dicks, Esq., and colleague, Ashley C.L. Brown, Esq., for the support,

guidance, and care in all things legal, and their wonderful enthusiasm for this book and the future.

Thank you to the Academy of Art University, San Francisco, and to filmmaker and innovator, David

Oliver Pfeil, who was the first to approach Gretchen about starting a makeup program for the

Academy of Art University. Without his vision and understanding of the importance of makeup in

the film department, both as an art form and a career, students would not have had the opportunity

to experience and witness what a Makeup Artist does. Thank you to Dan Burns and Jack Isgro for

their support in the success of the makeup program at the Academy. Jack, your input to Elsevier

made this all happen. Many thanks to Elisa Stephens who encourages instructors to teach students

how it really is in the working world.

ACKNOWLEDGMENTS x

Much love and thanks to our families, friends, and mentors, who over the years have cheered us on

in our careers, supported us in our travels, and offered unwavering, unconditional love, no matter

how many times our schedules changed. You made it possible for us to give back, sharing all that we

know and do.

Lastly, to all those actors, models, and performers whom we have touched throughout our years,

thank you. You have allowed us to do “that thing we do” with you as our canvas!

Thank you.

—Gretchen Davis and Mindy Hall

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Shapes

1

SHAPES

2

Proportions of the Face and

Body in Art

Makeup Artists are masters at illusion.

We manipulate the shapes and features

of the face and body with our artistry.

We cannot achieve this without understanding

how to correctly determine proportions,

shapes, and the anatomical structure

of the body.

In studying anatomy drawing, you learn, for

example, individual skeletal or muscular size,

shapes, and functions. The functions and

proportions are key in creating realism. There

are fundamental drawing skills that teach you

value, form, light, and shadows, as well as

how these elements fall onto the surface of

the face and body. For example, if you do not

understand the shape and function of a muscle,

your placement of highlight and shadow, a

tattoo, body paint, or prosthetic will be off

and therefore unsuccessful.

Painting, drawing, and understanding the

body will give you the skills and ability to

understand how to change facial features

and alter an individual's features to look like

something or someone else. Your artistry will

move with the subject, making it look more

authentic. This is a very important lesson used

in all areas of makeup artistry. “Anatomy is

an applied science which underpins fine art,

the study of structure is essential for artistic

representation. The skeleton, joints and

muscular system of a creature determine its

proportions and the movement of the body.”

(Fehér 7)

Value, Shadow, and Light

by Dan Gheno

The study of values is a complicated subject.

When trying to draw in a tonal manner, it

helps your ability to see value changes on

the model if you learn the terminology of

the subject.

Values: Each object, whether simple like a sphere

or complex like the human figure, is composed

of millions of tonal “value” changes. These range

from the brightest bright (where the object most

directly faces the light) to the darkest dark (where

the object is turned away from the light source).

Halftones: A generic term that refers to all of

the value variations within the light side of the

model. The halftones are brightest where the

form turns most directly toward the light source,

and are darkest just before the form falls into

complete shadow.

Dark and Light Halftones: To keep things

simple, artists should class their halftones into

two different categories: “light halftones” and

“dark halftones.” Things can go wrong if these

two types aren't kept separate. Some artists

make all of their halftones equally dark, creating

muddy-looking drawings, while others insist on

making their halftones equally bright, creating

washed-out drawings. Note in the Watcher

picture (Figure 1.1) that the halftone shapes

FIGURE 1.1: THE WATCHER WOMAN