Corrective Make-Up Tips

   


  The primary goal of corrective make-up is to accent a person's best features while minimizing a person's unflattering features or flaws. This can be a very touchy matter, because the make-up artist has to scrutinize a person's features and tell the client what parts of her body and face need touching up. This consultation can result in hurt feelings if not done with tact and compassion.

   There are a few basic rules to remember when applying make-up. The first rule is to remember that highlighting an area emphasizes a feature. Shadowing an are minimizes it. Highlighting uses colors that are a shade or more lighter than a person's natural skin tone, while shadowing uses darker shades. Another rule is that the ideal face should be oval shaped, approximately three-fourths wide as it is long. The distance between the eyes should equal the width of one eye. These rules, like any rules, can be altered or even broken, depending on what result is desired in the end.

  Face shape is always the first consideration. There are seven face shapes: oval, round, squared, pear-shaped (wide-jawed), heart-shaped (wide forehead, narrow jaw), diamond-shaped (wide cheekbones), and oblong (a long and narrow face). The goal is to make the face as oval and as proportionate as possible. Corrective make-up takes the face shapes into consideration and uses highlighting and shadowing to add width where it is needed, or to conceal excess width.

For instance, let's look at the round shaped face. The objective is to slenderize the face, which can be done by applying darker foundation on the sides of the face, thus shadowing excess width and creating the illusion of extra length. For a square shaped face, color selection is important because you want to soften the hard lines. If you've ever heard someone say, "She's a hard looking woman", they usually are referring to someone with a squared face.

Pear-shaped faces are characterized by a wide jaw and narrow forehead. The goal is to create width at the forehead, using highlighting, and to slenderize the jaw by shadowing. Oblong faces need width the most, so lighter colors are used. The same highlighting and shadowing principles apply to every other face shape. Lights and darks are used to make the face appear oval.

  There are special corrective techniques to deal with specific problems, like wrinkles, double-chins, and off-set eyes. To fix these problems, make sure you have the essential products, such as concealer, foundation, powder, eye color, lip color, etc. Color selection should be based on the person's skin tone, eye color, and hair color. Remember that you are an artist and the make-up is your palette. Have different shades of foundation and shadow on hand because these will be the tools you need to perform corrective make-up.

Make-up of Cantonese Opera

The 'old-style' heavy makeup was used in the Cantonese Opera. The cosmetics used were simple. Nowadays the Cantonese Opera's make-up has become 'lighter' and more natural looking. Techniques used in plays and films are adopted.

The backstage area is divided into several small partitions by using curtains and chests. These 'rooms' provide dressing tables and changing areas for the performances.

Theatrical makeup

Background

In Greek and Roman theatre, makeup was unnecessary. Actors wore various masks, allowing them to portray another gender, age, or entirely different likeness.Thespis, considered to be the first actor, used white lead and wine to paint his face. In medieval Europe, actors altered their appearances by painting their faces a different color. Performers who portrayed God painted their faces white or gold; actors playing angels painted their faces red. During the Renaissance, actors were creative and resourceful when making-over their faces. They used lamb's wool for false beards and flour as face paint.

Advancements in stage lighting technology required stage makeup to evolve beyond one over-all face color to a multidimensional craft. Originally, theatres used candles and oil lamps; these two sources of light were dim and allowed for crude, unrealistic makeup applications. Once gas lighting, limelight and electric light were introduced to theatres, a need emerged for new makeup materials and more skillful application techniques. In 1873, Ludwig Leichner, a Wagnerian opera singer, began commercially producing a non-toxic greasepaint stick, easing the application of makeup.

Highlight and shadow

Through the use of makeup, specifically highlighting and shading, the apparent shape of an actor’s face can be changed. By highlighting the face's protruding bones, the features become pronounced; shadowing cavities can add depth. Sagging jowls, forehead wrinkles, eye pouches, and prominent veins can be created by manipulating highlights and shadows. A highlight is a base makeup that is at least two shades lighter than the base. It is applied on the bridge of the nose, cheekbones, and areas under the eyes and below the brows. Using a color two shades deeper than the base provides depth and definition. This depth is commonly used on the eye sockets, to thin the sides of the nose, to shallow the cheeks, and to minimize heaviness under the chin.

Makeup and lighting

Lighting controls makeup to a high degree. Makeup can lose its effectiveness due to incorrect stage lighting. Conversely, skillful lighting can greatly aid the art of makeup. Close communication between the lighting director and the makeup artist is crucial for the best possible effect.^[5]

Understanding light's effect on makeup and various shades and pigments is important when designing a performer’s makeup. The following are among the basic rules of light: nothing has color until light is reflected from it; an object appears black when all of the light is absorbed; an object appears white when all of the light is reflected. If certain rays are absorbed and others are reflected, the reflected rays determine the color.

Light's effect on makeup

• Pink tends to gray the cool colors and intensify the warm ones. Yellow becomes more orange.
• Flesh pink flatters most makeup.
• Fire red ruins makeup. All but the darker flesh tones virtually disappear. Light and medium rouge fade into the foundation, whereas the dark red rouges turn a reddish brown. Yellow becomes orange, and the cool shading colors become shades of gray and black.
• Bastard amber is flattering because it picks up the warm pinks and flesh tones in the makeup.
• Amber and orange intensify and yellow most flesh colors. They turn rouges more orange. Cool colors are grayed.
• Green grays all flesh tones and rouges in proportion to its intensity. Green will be intensified. Yellow and blue will become greener.
• Light blue-green lowers the intensity of the base colors. One should generally use very little rouge under this type of light.
• Green-blue washes out pale flesh tones, and will gray medium and deep flesh tones, as well as all reds.
• Blues gray most flesh tones and cause them to appear more red or purple.
• Violet causes orange, flame, and scarlet to become redder. Rouge appears more intense.
• Purple affects makeup like violet lighting, except reds and oranges will be even more intense, and most blues will look violet.

Straight makeup 

- Straight makeup is a style of makeup that provides a natural, clean and healthy glow.

Skin

If a performer’s skin is perfectly toned, makeup spreads smoothly and adheres easily. Dry skin or oily skin is dealt with prior to makeup application; otherwise, the makeup appears blotchy or smeared due to variations in absorption. Performers with dry skin use a moisturizer daily and after their faces have been cleansed following a performance. Performers with oily complexions use a facial toner wipe or astringentto remove the oil and allow a smooth application.

Skin has four basic tones: brown, fair, pink and olive. Individuals with fair, pink, and olive skin tones use olive, beige, or suntan bases. Makeup artist and performers select shades compatible with the natural skin tone, but the base is one to several shades deeper. Performers with predominately pink or ruddy complexions use base colors with cool undertones. The character, size of the theatre, and light intensity will determine the tone depth of the foundation.

A thin layer of base makeup is applied to the neck, ears, and face using a white rubber sponge or fingers. A heavy application of base appears aged and creepy.

Rouge

Fair complexions are enhanced by soft shades of peach and pink, while brown complexions are best accented with coral shades. Moist rouge is applied before powder; dry rouge is used to accent the already powdered makeup.

Eyes

Eyes and eyebrows are the greatest communicative tool in an actor’s arsenal. They are the most expressive feature on the face.

Eye shadow

- Grease or stick shadow is applied to the eyelids and blended out toward the eyebrow bone before powder is applied; dry eye shadow is used alone or to intensify and touch up the color underneath. Dark eye shadow or grease deepens the eye sockets, creating a skull-like effect. Shades of brown and gray are best for individuals with fair complexions. Individuals with brown complexions use lighter shadows such as toast, mushroom or soft yellows.

Eye liner

- Liquid eyeliner, cake eyeliner, or the eyebrow pencil is used to accent and frame the eyes. There are two ways to line the upper lid of the eye: the owl eye or the almond eye. The owl eye is used to widen the eye and involves using a heavier line in the middle of the lid. The almond-shaped eye is created by extending the line out beyond the outer corner of the eye. The lower line is created by using the same tool used on the upper lid. The line begins a quarter-inch from the inner corner of the eye. This extra space is needed to open the eye.

Eyelashes

- Mascara is used to add extra attention to the eyes. Black lack mascara is the most popular and commonly used by women with fair and brown complexions. Very fair individuals and men use brown mascara. The bottom lashes are coated with mascara and to avoid using false lashes, a process of layering powder and mascara is used to provide greater thickness.

Powder

- A generous amount of powder is needed to reduce unwanted shine. If a performer’s makeup is under-powdered, his skin oils will break through quickly, producing shine and possibly running. After powder is applied to the entire face, starting under and around the eyes, it is gently pressed for thirty seconds. The excess is brushed off with a large soft brush or piece of cotton. A wet natural sponge or cotton is wiped lightly across the face to set the makeup, to remove any visible powder, and to eliminate the masky feeling.

- Translucent powders are used for fair complexions because they do not alter the original color of the base, the under-rouge, or the moist eye shadow. Brown complexions are set with tinted that is compatible with the base color. It is used sparingly over the under-rouge and moist eye shadow. After the powder is applied, dry eye shadow and dry rouge are added.

Lips

- Though the eyes are the most expressive feature of the face, the eyes and ears of the audience follow mouth movements to understand a play’s progression. If a performer’s lips are underdone or overplayed, they will detract from the performer and the performance. A general rule is: the larger the mouth, the deeper the lipstick tone. However, the actor should not appear “all mouth”.

- Fair complexions use shades of lipstick like pink and coral. Brown complexions are enhanced by coral and orange shades. Red lipsticks are reserved for large theatres and character portrayals. An auburn or brown pencil are used to provide definition to the lips. Lipsticks on men can look doll-like. Men use natural-colored lipsticks, lightly applied.

Training 

- Because stage actors are seen from farther away than actors on screen, it is crucial that their makeup is more dramatic and professionally done. Many higher-learning institutions have drama departments where all aspects of theater are taught, including the art of theatrical makeup. Some independent agencies also provide classes in theatrical makeup, and even online courses are available. Through training, makeup artists learn important techniques such as hand-eye coordination, ability to draw straight lines and consistent shapes, creativity, good grooming and personal hygiene habits, etc. Many makeup artists who specialize in theatrical makeup build portfolios to show their clients and employers. Many of them work as freelance makeup artists or work for cosmetics brands in department stores.

Regina Lund in The Blue Angel

This section is devoted to the art of hair styling. This part of the makeup artists job is invaluable when it comes to changing someone.
It involves everything from cutting hair, colouring it, dressing it in modern styles and in classical styles.
When doing theatre work you often use wigs as it is faster than fixing an actors own hair but you can often use their own hair too if the hair style is simple.

In parts of the world the makeup artist would not do hair but only do the makeup.
I my opinion this is a bad practice as you can't guarantee that the hair stylist and hair dresser have the same idea about a character.
This of course makes it more difficult to do the perfect look.

Here in Scandinavia and the north of Europe, we makeup artists are trained to do both.

Andrezej Glosniak in Sech Tänze

We use all the available modern techniques but an invaluable tool is the very old fashioned hair tongs that is heated in an oven.
I don't know how I would manage without this ancient tool. There is no other way to dress a facial hair piece or wig without them.
You can buy them from Fishbach+Miller in Germany that still manufacture them.
If you want to learn more about how to use them I suggest that you look at my "Step by step" guides where I am showing how I do it.

Tina Lenne In Mater Nexus

Modern crazy hairstyles like the one on the left is fun to do but it doesn't compare with the true joy of making classical styles. When you do that you can really freak out and have fun. 

Character Make Up

Ingvar Wixell as Falstaff 

When you're making an actor into another person you must alter his appearance so it fits  the new character. If the character is mean, kind, fat, thin or ugly you must change the actors own features to match this.
To be able to do this we use a lot of different methods such as wigs, false teeth and facial prosthetics.
All of these techniques have their own pages. On this page the most basic way of doing character makeup with light and shadows using greasepaint is explained

Johan Schinkler as Daland in The flying Dutchman 

When you're doing a highlight and shadow makeup you are really just using the actors own features to alter his looks by showing and hiding things that are already there.
Some actor once said that all parts are an insult, because the makeup artist always bring out the "bad" bits of the face when doing a character makeup.
Depending on what kind of stage you are working on the makeup can differ quite a bit.
If you're working on a small stage you have to put on makeup which is very subtle but for a big stage it can look really grotesque in person but great on stage.
On the left you can see a very strong makeup that looked quite natural when he was on the dark stage.
For the shadows I use the colour "death purple" because I don't like it when people make shadows in pure brown or black as it looks totally lifeless.
For the highlights I use an off white colour which is mixed with the foundation

Character makeup can also sometimes be classical makeup's like the Peking opera masks or Japanese kabuki makeup.
These kinds of makeup are very hard for us in the west to understand and do correctly because they come from thousands of years of tradition.
Every colour and line means as much as a whole book of knowledge.
All we can do is mimic or do our own interpretation which is bound to be wrong.
However, it is beautiful makeup's that all makeup artists often try to do.
Here you can see a stylized kabuki influenced makeup I did for an Opera.

Light's effect on makeup

-  Pink tends to gray the cool colors and intensify the warm ones. Yellow becomes more orange.

-  Flesh pink flatters most makeup.

-  Fire red ruins makeup. All but the darker flesh tones virtually disappear. Light and medium rouge fade into the foundation, whereas the dark red rouges turn a reddish brown. Yellow becomes orange, and the cool shading colors become shades of gray and black.

-  Bastard amber is flattering because it picks up the warm pinks and flesh tones in the makeup.

-  Amber and orange intensify and yellow most flesh colors. They turn rouges more orange. Cool colors are grayed.

-  Green grays all flesh tones and rouges in proportion to its intensity. Green will be intensified. Yellow and blue will become greener.

-  Light blue-green lowers the intensity of the base colors. One should generally use very little rouge under this type of light.

-  Green-blue washes out pale flesh tones, and will gray medium and deep flesh tones, as well as all reds.

-  Blues gray most flesh tones and cause them to appear more red or purple.

-  Violet causes orange, flame, and scarlet to become redder. Rouge appears more intense.

-  Purple affects makeup like violet lighting, except reds and oranges will be even more intense, and most blues will look violet.

STAGE MAKE UP..

STAGE MAKE UP..

    Through the use of makeup, specifically highlighting and shading, the apparent shape of an actor’s face can be changed. By highlighting the face's protruding bones, the features become pronounced; shadowing cavities can add depth. Sagging jowls, forehead wrinkles, eye pouches, and prominent veins can be created by manipulating highlights and shadows. A highlight is a base makeup that is at least two shades lighter than the base. It is applied on the bridge of the nose, cheekbones, and areas under the eyes and below the brows. Using a color two shades deeper than the base provides depth and definition. This depth is commonly used on the eye sockets, to thin the sides of the nose, to shallow the cheeks, and to minimize heaviness under the chin.

Make up and lighting..

      Pencahayaan adalah sangat penting menghidupkan mood dan emosi dalam sesuatu situasi dan ia memberikan kesan juga pada teknik solekan.

      Lighting controls makeup to a high degree. Makeup can lose its effectiveness due to incorrect stage lighting. Conversely, skillful lighting can greatly aid the art of makeup. Close communication between the lighting director and the makeup artist is crucial for the best possible effect. Understanding light's effect on makeup and various shades and pigments is important when designing a performer’s makeup. The following are among the basic rules of light: nothing has color until light is reflected from it; an object appears black when all of the light is absorbed; an object appears white when all of the light is reflected. If certain rays are absorbed and others are reflected, the reflected rays determine the color

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Special Effects Makeup Artistry

                 

  

  

History

1. Special effects artistry has been practiced around the world for centuries. It was first used in ancient Egypt. Romans used lead based makeup and also lightened their faces with chalk. In 1914, Max Factor introduced pancake makeup. It is a water based pressed powder that was used in black and white movies. Pancake makeup is a fundamental part of special effects makeup because it was the first type of makeup used in early black and white movies.

Special Effects

2. The first special effect artist was Jack Pierce. He created the scary vampire look made famous by actor Bela Lugosi. Modern special effects artistry consists of using materials such as latex, and rubber. Latex is used because it can be molded easily and used for skin effects.

Stage Makeup

3. Facial features can get blurred on the theatre stage. Audience members in the very back row need to be able to see the actor, therefore highly pigmented makeup is used on stage. Pancake makeup is used to create dramatic special effects and to accentuate an actor's facial features.

Body Painting Special Effects

4. Body painting is used to enhance features and create illusions such as camouflage. Small designs are are painted all over the body and resemble tattoos. Body special effects artistry can also be used to transform the actor into a monster, alien, or creature. Liquid latex and rubber are used to transform the appearance of the body.

Fantasy

5. Fantasy characters play an important role in television and movies. Makeup is applied instead of rubber to give a more realistic look. A wide variety of products and accessories are used to create different appearances. Fantasy special effects can be focused on a specific area of the body, such as the eyes. Fantasy characters are usually made for science fiction films and television shows.

Read more: Special Effects Makeup Artistry | eHow.com http://www.ehow.com/facts_5032416_special-effects-makeup-artistry.html#ixzz1Bxw0m1wJ

Teknik mekap mata yang dapat menyembunyikan kedut di kelopak mata

Before
"Gambar before menunjukkan model mengenakan warna kilat pada kedut mata. Ini menyebabkan kedut jadi jelas kelihatan."
After
Guna sahaja warna-warna matte kerana ia nampak lebih natural dan menyembunyikan garis halus dan kedut.

Mekap warna natural menjadikan anda nampak lebih muda.

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TIPS PEMAKAIAN FOUNDATION

- Ini merupakan tips berkenaan foundation ataupun bedak asas.

- Bercakap mengenai foundation, kali ini kita akan membincangkan tentang pemakaian foundation secara betul dan berkesan. Foundationmerupakan asas utama dalam seni solekan. Seperti semua sedia maklum, penggunaan foundation secara betul dan teratur akan menjadikan wajah kita lebih sempurna. Setelah foundation disapu, wajah kita akan berubah menjadi selembar kanvas yang halus serta mulus yang sedia untuk dicorakkan.

- Foundation terbahagi kepada beberapa jenis iaitu yang berunsur cecair (liquid), krim, stik (stick), mousse dan beberapa jenis yang lain. Jenis foundation yang akan diguna bergantung kepada kondisi kulit anda sendiri. Namun ada sesetengah antara kita semua membeli foundation setelah menonton iklan di TV ataupun terpengaruh kepada kata-kata jurujual. Harus diingat, jenisfoundation bergantung kepada kesesuaian kulit kita dan juga kondisi kulit itu sendiri.

- Apabila anda membeli foundation untuk wajah anda, anda perlu mengenal pasti dahulu jenis serta kecenderungan kulit anda. Jika anda berkulit kering, pilihlah foundation berunsur krim atau stick.Foundation berunsur cecair amat sesuai kepada kulit normal serta berminyak. Namun sila pastikan anda memilih foundation yang bahan pembuatannya berunsur air. Bagi kulit yang cenderung berminyak,foundation yang berunsur mousse lebih sesuai kerana ia terdiri daripada bahan bebas minyak dan matte finished.

- Selain itu, anda perlu menitikberatkan warna foundation apabila membeli foundation untuk wajah anda. Sebagai tips, kulit yang cerah, pilihlah foundation yang bertone light. Tone warna mediumsangat sesuai pada yang berkulit sawo matang manakala yang berwajah cenderung kepada gelap, sila pilih warna dari kumpulan tone deep. Jika anda mahu selamat, pilih warna natural supaya wajah anda tidak kelihatan seperti tepung gomak semasa bersolek. Pada kaum lelaki pula, warna natural adalah yang paling sesuai kerana warna ini mampu mengelakkan anda daripada kelihatan seperti memakai topeng.

- Tips memilih warna yang sesuai bagi anda ialah dengan menyapu sedikit foundation yang mahu dibeli di bahagian rahang anda sendiri. Kerap kali kita mencuba foundation di pergelangan tangan. Awas, kulit wajah masih kulit wajah, tidak akan sama dengan kulit tangan! Setelah menyapu foundation pada rahang, perhatikan! Jika warna yang disapukan kelihatan seakan-akan dengan warna asli kulit, nah.. Itulah warna yang paling sesuai untuk anda. Mudah bukan?

- Apabila mengaplikasi foundation, pastikan anda menyapu seluruh wajah anda dengan foundation secara merata dan tidak bercapuk-capuk. Gunakan span yang sesuai apabila menyapu foundation. Berus khas yang dikenali sebagai foundation brush juga bagus digunakan. Jika anda menggunakan foundation
blending brush untuk meratakan foundation yang telah disapu, kesannya lebih bagus serta kompleksi wajah juga terserlah. Tak percaya cubalah.

- Berbincang mengenai jenama foundation yang ada di pasaran kini, terlalu banyak jenama yang mengeluarkan foundation, yang paling kita ketahui ialah MAC bukan? Tetapi anda juga perlu tahu terdapat ratusan jenama yang ada dalam pasaran dewasa ini. Jenama seperti, Kryolan, Benefit, Stage, Bobbi Brown dan beberapa jenama yang gah lain turut mendapat perhatian para jurusolek serta pencinta solekan. Namun, harga satu-satu foundation keluaran jenama di atas agak tinggi.. Tetapi, bagi anda yang budget sederhana, jangan risau, jenama seperti Avon,Maybelline, Revlon, Sari Ayu, Mustika Ratu, Elianto juga bagus serta harganya sungguh berpatutan dan mampu dimiliki! Kualitinya juga tidak kurang hebat.


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