CHAPTER 17 Natural Makeup for Film and Television

Film and television makeup allow for as many variations in character as does the stage makeup process. The full range of techniques used for straight makeup, corrective makeup, modeling with highlights and shadows, and three-dimensional makeup can be translated for film and television. The major differences between theater and film and television are the materials and the overall intensity of the effect.

High-Definition Digital
Technology

The high definition (HD) camera produces images in almost three-dimensional detail. It is much more cost effective than the cellulose (film). High definition, or hi-def, can film in low levels and still get ultraclear images. There are occasions when filtration, softening the light, or diffusing the image can be used to make the appearance less defined. The fact that every imperfection, unevenness, and change in texture shows on camera has led to some creative challenges for makeup artists. Technology for HD cameras changes quickly, so what worked for one set of circumstances may not be applicable for the next project. Testing makeups on camera beforehand is the best way to check for problems. Sponges and brushes are still viable for applying makeup but the final look has to be seamless and subtle. Airbrushing a foundation over a sponged, or brushed, makeup can help blend the look and create a light diffusion. Because of the attention to minute details a “natural” makeup may take longer to achieve. Prosthetics, wig lace, and anything with an edge will present a need for extra time to adjust. Certain reds can change drastically on HD cameras. Lipsticks, blush, and blood can require alterations in the composition of the color. The shine from glues and blood effects presents another consideration. Camouflaging the shadow and shine of a man’s beard growth may extend the time needed for his makeup. The rule of thumb is that to appear natural in this high definition technology adds to your artist’s time in the makeup chair.

FIGURE 17-1 Kryolan’s Micro Foundation. Comes in both a liquid and a spray form. Apply liquid with a sponge, or brush. After it dries it is smudge-proof and moistureresistant.

FIGURE 17-2 Mehron’s Celebré Professional Creme Makeup.

FIGURE 17-3 Kett Fixx Creme Makeup. Improves skin texture and balances skin tones. Camouflages imperfections; it is waterproof and provides sheer to full coverage.

There is a certain amount of uncertainty about what you see in the studio and what an audience will view on the screen. The camera, monitor, broadcast quality, and the individual screen contribute variations on the look of the face. With television, the way information is sent from the studio and received from the cable company, or satellite, and sent into homes is programmed by a manufacturer.

Working in film and television is a collaboration just as it is in the theater. Build relationships with the director, lighting director, and the director of photography/ cinematographer, etc. Lighting will be crucial to the makeup as well as how it is being filmed with the camera. Discuss any potential needs with these team members. Look as closely at the performer’s face as the camera will. Once a realistic look is achieved, there can be some adjustments in lighting camera diffusion techniques and/or post-production. Keep the lines of communication open for the best results. Many makeup schools, unions, and makeup suppliers offer seminars in the techniques for working with the latest technology.

Choosing a Foundation

Since it is not possible for you to know what the makeup will actually look like when it reaches its destination, your choices need to be conservative. HD technology enhances the properties found in both matte and reflective products. Avoid ingredients that alter the natural look of the skin. The basic guideline is to match the skin of the artist and no matter what appears on the screen, the look will be real. Use a foundation with very little texture, and since everyone’s face has more than one color, work with 2–3 shades. Sculpt the face as you would with any corrective makeup. It is possible to apply any of the liquid airbrush foundations, not only with the airbrush, but also with a sponge, or brush, to contour the face with layers of sheer color (M.A.C.’s Micronized Air Brush Foundation, Kett’s Hydro Foundation, Kryolan’s Air Stream, and Temptu’s Hi Def S/B makeup). There are also many specially formulated creme foundations that work well. A combination of sponge, brush, and airbrush can be effective for working in hi-def. Ultimately, you should use whatever you can to create the most natural look.

Natural Makeup for the
Female Performer

Creme-style foundations should be applied with a fine polyurethane foam sponge. Pick up a small amount of color from the container and apply it as thinly as possible, giving the skin as little coverage as needed. After covering a small area of the face, check the color for a correct match. Color must always be matched on the face, not from the container or on the back of the hand. The base should be blended carefully at the hairline, leaving no traces of makeup color on the hair, eyebrows, or lashes. Color should be blended to the lash line on both the upper and lower lids and to just under the jawline where it meets the neck. The area under the jawline is a good blending off point for two reasons: (1) it is high enough to avoid rubbing off on the wardrobe; and (2) it is usually in the shadows from overhead lighting or daylight. Continue the foundation on the neck back towards the hairline and onto the top surfaces of the ears. Remember that a subtle shift in color to the naked eye may become far more noticeable to the video camera.

The specially formulated airbrush foundations should be applied in light layers until the desired coverage is achieved. These foundations can stand up to moisture and resist being rubbed off. They can be applied over other makeup and used to blend and/or add a fine, natural texture.

POWDER Use powder with creme makeup, and use it sparingly. Touch-ups on the set should be only on those areas that are shiny. Remember less is more with high-definition technology. There are powders with microfine pigments that are talc-free and silica based. The feel of the powder should be smooth, almost liquid, with no grit. The goal is a face that is neither too shiny or too matte, but has a natural fresh look.

FIGURE 17-4 Kryolan HD Products. (1 to r) Micro Foundation Cream reduces shadow effects of wrinkles. Air Stream Make-up for airbrush use. Dual Finish can be applied dry or wet for a more intense coverage.

CONCEALER Concealers are most often used to cover dark circles under the eyes and to eliminate redness and other skin discolorations on the face. They are available in a variety of formulas, from sheer neutralizers such as Joe Blasco’s Red and Blue neutralizers, to more opaque camouflage systems such as Dermablend and Kryolan’s Dermacolor. There are many choices for concealer products available at the drug store and makeup counter as well as most of the professional makeup lines. Choose one that is slightly lighter than the foundation (one to two shades) and with a subtle yellow tint to counter the common purple undertones found around the eye, a subtle green tint to counter red discolorations, and a subtle orange tint to balance the blue areas caused by heavy beard shadow. Avoid using white and very light colored concealers. They can appear chalky on the skin and create a raccoon effect around the eyes.

For under-eye concealer to be effective, proper placement is of utmost importance. Apply the concealer with the fingers or a concealer brush under the eye up to the lower lashes and on the inner most corner of the eye (often the darkest area). It should be used only on the discolored area and blended carefully towards the natural highlights. If the concealer is used outside the discolored area it may increase the effect of the “bags” and cause other areas to appear puffy. Smooth and blend with a light patting motion for an even application and greater coverage. Do not over blend. Powder with a translucent setting powder or with one that is slightly lighter than the concealer.

Should concealer be applied before or after the foundation? Many makeup artists believe that a practical method for determining the amount of concealer to be used is dependent on the amount of visible discoloration appearing through the foundation after it has been applied to the face. Too much concealer may indeed be just as unattractive or cause just as much focus as the original discoloration. After all, the purpose of the concealer/foundation combination is to leave the skin looking smooth and natural.

FIGURE 17-5 Kett Hydro Foundation. Can be applied with brush, sponge, or airbrush. Absorbs excess oils from skin and hydrates.

CHEEK COLOR OR BLUSH Cheek color adds a natural healthy glow to the skin. Whether you choose a liquid for the airbrush, cream, gel, or dry formula, finding the proper color can be confusing. One method for developing an appropriate color is to mix together equal amounts of foundation and a primary red. This is an excellent reference point from which to choose cheek colors. Be sure to integrate creme and gel formulas into the foundation before the setting powder is applied. Choose colors that compliment the lips and provide a matte finish. They should not be too bright, too dark, or too shimmery or frosted.

Avoid using any intense levels of red, magenta, and pink.

Cheek color is applied on the cheekbone with the fingers (creme and gels), a brush (cake and powders), or the airbrush and should not be used to attempt contouring or shadowing under the cheekbone. It should appear and act as a soft glowing highlight. Place the cheek color near the hairline (avoid tinting the hair, especially blonde hair) and blend towards the center of the face. Blend carefully to avoid creating a horizontal line across the cheek. All traces of color should blend away before they reach the outside corner of the eye. Unless a fuller “apple cheek” effect is desired, keep cheek color off of the front plane of the face.

EYE SHADOWS Dry eyeshadows in three harmonious shades (light for highlighting, medium for the upper lid, and dark along the lash line) should be used to naturally accent the eye. These shades should blend together invisibly. While creme formulas are easily applied and blend smoothly, they tend to migrate into the creases of the eye, necessitating regular attention to maintain a consistent appearance throughout filming.

The area of the eyelid between the lashes and the crease should be highlighted with an ivory, bone, or vanilla dry shadow. The highlight is strongest over the highest projection of the eyelid and should then be blended away from the center in all directions. The area of the brow bone directly under the arch of the brow should also be highlighted. Using the same color, apply a small amount to the outer half of the brow, blending out and down towards the crease.

For a natural makeup application use a brown, grey-brown, taupe, or cocoa shadow. Apply the shadow with a crease brush. Starting at the outer edge of the upper lash line, follow the crease to approximately two-thirds of the way towards the inner eye. The shadow can be applied into or slightly above the crease. Using a firm shadow brush blend upwards towards the brow. Blend the shadow from dark to light before reaching the highlighted area under the brow. The darkest shade is used as an eyeliner (see the following section).

Eyeshadow in a natural makeup should always have a matte finish. Avoid opalescent or pearlized colors. Remember that subtlety in application and blending is key to a successful film or television makeup.

EYELINER The purpose of eyeliner in a natural makeup is to enhance and darken the lash root line, and therefore must be similar to or darker than the hair color. Four types of eyeliner should be considered: pencil, powder, cake, and liquid. The pencil liner can be easily blended creating a soft, natural eyelash line, but the waxy color is affected by body heat and can smudge during a long shooting schedule. Using a dark eyeshadow along the lash line creates an even softer line than the pencil and is quite easy to control. Although cake and liquid liners require a bit more skill to apply, they have the advantage of drying and do not smudge as easily. Cake and liquid liners can be left with a hard edge or blended with a damp brush or cotton-tipped applicator.

For performers with blonde hair and light skin, a light brown, sable, or slate colored liner should be used. Performers with red hair can choose light brown or auburn liner colors based on skin and hair coloration. Light brown hair with light skin tones should use a medium brown, cocoa, or charcoal eyeliner. Those with medium to dark brown colors should use a dark brown, mahogany, or charcoal eyeliner.

The width of the eyeliner at the inner edge of the upper lash line (towards the nose) should be quite thin and then widen as it moves away from the center of the face, ending at the last lash. If liner is needed on the lower lashes it is usually thinner at either end and slightly thicker at the center of the eye. Great care should be given to making these lines thin and blended. The goal is to frame and enhance the eye.

EYEBROWS The eyebrow should look wellgroomed and defined and be of a color slightly darker than the hair. A well-groomed eyebrow may actually allow you to use less makeup. The shape should follow the natural brow line and can be tweezed, waxed, or shaved to remove excess hairs. (Be aware that small bumps can appear after waxing caused by ingrown hairs that can be painful and unsightly. They can be avoided by first cleaning the brow with a toner before the waxing process and then exfoliating the area regularly with a gentle cleansing scrub. Applying a drop of Benzoin Peroxide to the area once a day for several days after waxing will also prevent this problem.) When tweezing, first pluck any hairs between the brows above the bridge of the nose, then carefully remove stray hairs from below the brow. The highest point of the arch should be created at approximately three-quarters of the distance along the brow from the inner edge.

The thickness of the brow is not as important as its shape. The brow should be thickest near the center of the face, gradually become thinner at the arch, and then taper into a fine point. If the natural brow does not follow this direction, light strokes with an appropriately colored pencil can be used to alter the shape.

Adding color to the eyebrow can help to frame the face. It is important to add enough color to fill in the brow without creating a painted-on look. Brow color can be applied with a pencil or with a brush and brown eyeshadow. Should the brows look too dark or artificial after using a pencil try applying brown eyeshadow instead with a small, hard, flat brush angled at the tip. For thin and short brows, fill in the sparse areas with a pencil using short hair-like strokes, then apply shadow with a brush over the entire brow. Finish the application by brushing the brow with a stiff eyebrow brush or toothbrush into the desired shape.

MASCARA Black or brown mascara should be used for nearly every makeup application when trying to achieve a natural look. Brown appears most natural, produces a gentle soft-looking lash, and can be used on those occasions when no makeup is required. Blonde lashes look best with a reddish-brown colored mascara for film work and black mascara for television (the intense lighting will wash out lighter colors.) For those performers with extremely dark hair or for darkskinned performers, black mascara is preferred.

While waterproof mascaras are not recommended for daily wear (they tend to dry out the lashes), their durability can be useful for television production. Holding the wand parallel to the floor, apply a lengthening formula mascara (thickening formulas tend to clump on the lashes) to the underside of the top lashes and to the upper side of the lower lashes. Apply two to three thin layers, letting the mascara dry between coats. Here are a few mascara tips: (1) always curl eyelashes before applying mascara; (2) avoid pointing the tip of the wand towards your eye; (3) mascara on the lower lid may accentuate discoloration and puffiness, (4) for a fresher, cleaner look apply mascara only to the upper lash, (5) avoid bright-colored mascara; (6) and always use less mascara on the lower lashes.

LIP COLOR The purpose of lip color in a natural makeup is to heighten the color of the lip, even out the skin tone, and add definition to the lip line. Without it, the camera, especially in video, may confuse the often soft or broken edges between the lip and the surrounding skin. Be sure to use a lip conditioner before adding color. High definition will exaggerate any dry or flaky texture on the lips. The color should be similar to the performer’s natural color, which can then be toned and contoured with either brown or ivory. The upper lip, usually in a natural shadow, can be slightly darker in color while the lower lip is slightly lighter or brighter and often highlighted to create a fuller appearance. One method to accomplish a natural-looking lip is to first create a defined edge using a brush or pencil and then blend the color softly out onto the lip. This method does not require coloring in the entire lip area. Another method is to first cover the entire lip with a natural lip pencil, then apply lip color with a brush. This method insures longer lasting coverage and assists the makeup artist when reshaping the lip is necessary. Once again, avoid using intense levels of red, magenta, and pink. Lip gloss can “move” on camera. The matte, or satin, look is the most natural.

FIGURE 17-6 Lipsticks by M.A.C. (Makeup Art Cosmetics).

Makeup for the Male Performer

The approach to makeup for men working in film and video has changed dramatically in recent years. Improvement in film stock and video technology require far less makeup than in the past. As mentioned previously, makeup will be seen more naturally on film than on video and must be used sparingly or sometimes not at all. Most men on television—actors, reporters, news anchors, and politicians—use makeup to counter the effects of video processing.

FOUNDATION Foundation should be applied over a cleanly shaven face. If the beard shadow is quite dark, an orange-tinted beard cover may be applied under the foundation to balance or neutralize the blue-grey cast. For most men, however, the foundation on its own will provide enough coverage. Avoid eliminating the beard shadow completely, for the appearance of some shadow will help to maintain a masculine image.

As a general rule, light-skinned men are made up to appear slightly tanner, while those with dark skin should appear a slightly warmer shade than their natural skin tone. The foundation should be applied and blended in a similar manner to that in female makeup.

POWDER When capturing an image on film, the foundation, if applied sparingly, may not need to be powdered immediately. A slight sheen is natural and gives the skin a healthy appearance. When natural skin oils begin to appear through the makeup, apply powder and provide touch-ups to remove the shine and refresh the application. For video, however, foundations must be powdered to remove any appearance of shine. Men should pay particular attention to maintaining a matte finish on bald spots and receding hairlines.

EYELINER Except in cases where the lashes are blond or extremely faint, eyeliner is rarely used on men. Should it be necessary, either apply a soft, faint line at the root of the eyelash with a sharp pencil and blend with a clean brush until the line disappears, or apply a light coating of brown mascara to the lashes. Any sign of eyeliner on a man’s lash line will tend to look feminine.

CONCEALER In video production, under-eye cover is generally used in the same manner as on women. Be mindful to blend the color evenly into the surrounding skin to create a natural look.

CHEEK COLOR The flattening out of facial colors and contours created by the application of foundation is usually not as problematic for men as it is for women. A stronger bone structure and the slight beard cast tend to minimize the effects of the foundation. If cheek color is to be used, a bronze tone can help to create a natural outdoor ruddiness. Avoid using shades of red on the cheeks and cheekbones unless a specific character makeup is being requested.

LIP COLOR The upper lip can be darkened slightly by lining it with a brownish-bronze lip color. Mehron’s RC-10 and Kelly’s Medium Rose are examples of excellent upper lip colors. The lower lip can be lightly colored with a bronze lip color or can simply be left untouched.

Working with a Makeup Artist

Having a working knowledge of theatrical makeup is crucial for stage performers. Actors working in live theater are, with few exceptions, responsible for applying their own makeup. Film and video projects, however, will nearly always have a makeup artist on set who is solely responsible for how the actor’s makeup appears on camera. For some actors, it may at first seem awkward, for others it will be a great relief. The professional actor about to make the transition from stage to screen should become familiar with the organization and responsibilities of the makeup department. The actor must also become familiar with what is expected of him or her by the makeup department to insure a professional, appropriate, and expedient makeup application.

THE MAKEUP DEPARTMENT There are five classifications in the makeup category: Key Makeup Artist; Assistant Makeup Artists or “Second”; Body Makeup Artist; Key Hairdresser (Hair stylist); and Assistant Hairdresser. The Makeup Category is responsible for all makeup, hairdressing, wigs, beards, mustaches, body makeup, prosthetic appliances, and special effects.

The duties of this department can be summarized as follows:

During the span of time allotted for pre-production activities, the department heads will study or break down the script to determine the makeup and hairdressing requirements. This will include the type and number of characters, and the number of performers and extras that will need attention. They will then work with the director to design believable characters and discuss specific makeup application techniques for each performer. Finally, a preliminary makeup schedule and makeup charts for each performer will be prepared. The makeup charts are distinguished by character and scene number and contain a complete list of all items and products used for each character. Included is a detailed explanation of how each product will be used.

As production begins the key makeup artist will instruct the assistant makeup artist(s) and hair stylists on the design and requirements of the production. He or she will also schedule and assign category artists (additional makeup artists and/or hair stylists) to specific actors and/or extras. On a daily basis throughout the entire shooting schedule, they will apply all required makeup and hair styles. Other responsibilities include makeup touchups between takes and developing and maintaining complete and accurate continuity records during filming. Accurate continuity records will insure that an actor with a black eye, for example, will appear with the same black eye, on the same eye over the course of successive shooting days. Careful attention to makeup continuity during filming will be of great assistance during the editing process.

Professional makeup artists are trained to pay attention to every detail. They notice when the back light is picking up flyaway hairs or creating a hole in a hair style; they make sure that lipstick is not feathering, that the nose and forehead are not shiny, that there is no broccoli in the teeth, and that hands are the same color as the face. In short, they make sure the performer is camera ready throughout the entire shooting schedule.

RESPONSIBILITIES OF THE PERFORMER The following is a list of Makeup Do’s and Don’ts, compiled from interviews with professional makeup artists, to assist the performer making his or her first appearance in the makeup trailer or on set:

Do …

… arrive on time with enough time to eat before you get into makeup.

… arrive COMPLETELY barefaced (no makeup, no liner, no mascara.)

… arrive with your face clean and moisturized.

… sit quietly in the makeup chair.

… ask the makeup artist any questions or requests before the makeup application begins!!

… try to stay away from overly salty or spicy foods (including onions and garlic) for a few days before shooting to avoid puffiness.

Don’t …

… bring food, coffee, breakfast, etc. to the makeup chair.

… study your lines during makeup.

… talk on your cell phone or to other people around you. We usually have a deadline and others to makeup as well.

… touch makeup items unless you ask.

… change your makeup. If you have concerns, ask politely if changes are possible.

… DO NOT touch your face after makeup!!

It may be appropriate, for reasons of health and safety, for an actor or performer to bring a small personal makeup bag with a few essential items. Although it is not appropriate to insist that the makup artist use an actor’s makeup (most makeup artists have professional products that work for the given performance medium), it is an option if the actor has contracted a skin contagion or if the actor notices a lack of hygiene in and around the artist’s kit.

This makeup bag or kit should include the following: a few new professional sponge wedges; a new powder puff; one liquid foundation blended to your skin tone and slightly darker; one professional creme foundation; a set of professional brushes—liner, blush, brow, two shadow brushes, a lip brush, and a small bottle of 90% alcohol for sanitizing the brushes; black mascara; disposable mascara wands; blush, lip pencil and lipstick in shades to flatter your complexion (this is especially important for men and women of color to make sure that you always have an appropriate skin tone.)

As a final suggestion to any performer anticipating a long day of filming, here is a list of items to bring with you to make the you more comfortable: a good medicated lip balm; toothbrush, toothpaste, floss and mouthwash; a nailbrush and hand cream; body lotion (for men and women of color to prevent ashiness); eye drops, lens solutions, contact case, and glasses; feminine products; and breath mints or gum.

Conclusion

While techniques and materials may vary to accommodate their respective technologies, makeup for film, TV, and the stage are very similar: foundations must be applied and facial features must be defined. Character makeups are remarkably alike throughout all performance mediums. What does distinguish the mediums from one another is how they are viewed by the audience: fixed seating and distance in the theater or flexible vantage points and enlarged, hyper-real images on film and TV. The proximity of the viewer to the performer is the primary factor in determining the intensity of the makeup application. It is not, however, the only consideration. Attention must be paid to variations in lighting, types of camera technology, location of the work, and the post-production process. The density, color, and texture of any makeup effect will be influenced by one or more of these variables.