The Technique of the Professional Make Up Artist

238 Laboratory Techniques

FIGURE 15.31 Application of tattoos. ( A ) Cleanse skin area where outline is not uniform you may outline with the black paint. Or, if lightly

transfer is to be located with special developwlremover to remow all excess smudged, clean the smudge dfwith cotton swab and developwlremover.
body oil or debris. ( B ) Pre-moisten velour puff with developer. Just enough
to Lmpen. Not dripping wet. Place transfer face down on skin. Press puff ( D ) Select the colws you wish for your design (be sure to shake colors
on transfer taking care not to move transfer ( t o prevent smudging). thoroughly)and begin painting, working each area selected. When total
Transfer should be complete in about 20 seconds. Peel off transfer design is finished powder again and then gently wipe o f f powdw with
smoothly. (C) Pow& your finished transfer design with talc. (Use any water and your creation is completed. Note: Pou~dwis not necessary. I t
talc, body pawder, etc.) The transfw design is now set. If at this point the
only acts to set and dry the artwork quickly.

most should be only used when proper ventilation is CHLORINATED ALIPHATIC
available as some produce fumes that are absorbed by
certain human organs and will cause serious internal HYDROCARBONS HYDROCARBONS
disorders from prolonged breathing.
Chloroform Naphtha
ALCOHOLS POLYHYDRIC ALCOHOLS Ethylene dichloride Heptane
Methylene dichloride Kerosene (refined)
Ethanol Glycerol or glycerin Carbon tetrachloride Mineral spirits
Methanol Propylene glycol Chlorobenzene Di-isobutylene
Propanol Polyethylene glycol Mineral oil
Isopropanol Sorbito1
Butanol Polyoxyeth ylene Solvents may also be listed under the headings of
Sec-butanol nonpolar, or non-H-bonding, medium polar, or high
Amy1 alcohol sorbitol polar:
2-ethyl 1-hexanol
Cyclohexanol ETHER ALCOHOLS NONPOLAR MEDIUM POLAR HIGH POLAR

ESTERS GAF Gafcol glycol Benzene Linseed oil Ethanol
ether Toluene Dioctyl Methanol
Ethyl lactate Diethylene glycol Xylene Propanol
Ethyl acetate Triethylene glycol Turpentine phthalate Butanol
Sec butyl acetate Hexamethylene glycol Mineral spirits Cellosolve Ethyl acetate
Polyethylene glycol Naphtha Polyglycols Ethylene glycol
ETHERS 400 Hexane Polyester resins Butyl acetate
2.2 thiodiethanol Heptane Epoxy resins Glycerol
Ethyl ether Mineral Oil Alkalyd resins Acetone
Methyl ether KETONES Carbon Polyurethane Methyl ethyl
Ethyl vinyl ether
Isobutyl vinyl ether Acetone tetrachloride resins ketone
Dioxane Methyl ethyl ketone
(MEW
HYDROCARBONS (MEK)
Methylcyclohexanone The main solvents employed in special materials for
Petroleum ether 2 butanone make-up purposes are isopropanol (isopropyl alcohol),
Hexane acetone, MEK, refined kerosene, and trichlorotrifluo-
Stoddard solvent ALIPHATIC AMINES roethane. Of these, only MEK has a really pungent
Cyclohexane residual odor as it is slower drying than acetone (which
Methycyclohexane Ethylene diamine is the fastest of the solvents to evaporate, with TCTFE
Tetralin (DuPont) Diethylenetriamine not too far behind). These solvents are part of the

AROMATIC formulations of most adhesives and sealers and are rel-
atively safe for use (MEK is not recommended for any
HYDROCARBONS

Toluene
Xylene
Benzene

Special Efects 239

skin use). Again, always use with proper ventilation. tralized (mixing p H is about 3) with 10percent sodium
Many of the hydrocarbon products should be used only hydroxide solution. This will produce a stiff gel that
with extreme care. may be diluted with water.

THICKENING AGENTS Previously mentioned Cab-0-Sil (see page 2 10) is
useful in thickening petroleum products and oils in
Dow Chemical makes a number of grades of Methocel addition to its other uses. A 5 percent dispersion pro-
duces a very stiff gel.
(methyl cellulose) that are film-forming , thickening
WyomingBentonite is a colloidal montmorilloniteclay
agents for water solutions. The standard solution is 2 that will absorb many times its weight in water, swell-
percent Methocel, first dispersed in about one-third of ing to several times its original volume and forming
the amount required of hot water. When the powder a thixotropic gel. A mud is prepared by sifting the
is completely wetted, the other two-thirds of the water clay into water while mixing under high shear. These
(cold) can be added. The mixture should then be stirred thickening materials and gels can be employed for
until smooth.
various effects where inert jellylike substances are called
Carbopol 934 (B.F. Goodrich Chemical Co.) is a for. Samples for research and developmental use can
water-soluble resin with thixotropic qualities. A 0.5 be obtained from most manufacturers along with tech-
percent solution mixed in a high shear blender is neu- nical information and specifications. Also see latex
thickening agents on page 189.

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Part

V

Hair Goods and the

Hair Kit

Fail here and you’ll never really become a make-
up artist!

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Hair Goodr and the Hair Kit 243

HAIRSTYLING AND MAKE-UP is ordinarily the first change area to apply a prosthetic,
so is the moustache used to effect a basic change. Just
ALTHOUGHTHERE IS NORMALLY A U N I O N CATEGORY SEP- as the make-up kit should contain all the essentials for
aration between hairstylist and make-up artist on most the normal application of make-up, plus some contin-
screen productions, essentially the hairstylist does the gency materials for special uses, so should the hair kit
women’s hair and the make-up artist is responsible for be supplied with a normal selection of prepared hair,
men’s facial and head hair. The make-up artist can plus possibly a few moustaches on lace in case a change
also apply wigs to either men or women but may be must be made in one of the characterizations. All in
assisted with the dressing of the hair (or even the all, to excel in the selection and handling of hair takes
application of a hairpiece or wig) by the hairstylist. many years of experience and practice but is a most
As the two departments are very closely allied, there necessary part of the make-up artist’s knowledge.
is seldom, if ever, any friction between them, and
cooperation and coordination are the general rule. Few professional make-up artists make their own
wigs or lace facial hairpieces as it is a very specialized
Also, while hairstylists have their own variety of kit field, and it is more feasible-and profitable in the
and tools, the make-up artist should always have a hair long run-to have professionals in the wigmaking
kit for use as well. The carrying case is usually a soft business do this for them from the make-up artist’s
canvas, over-the-shoulder bag with a zipper closing designs. R . Turner Wilcox’s The Mode in Hats and
and outside pockets and serves to carry extra make-up
supplies as well as hair tools and goods. Headdress (1949)and Richard Corson’s Fashions in Hair
(1965) both contain many drawings of hairstyles and
No part of character make-up is as important as or
used as frequently as the application of hair and hair period hairdress that a wigmaker will find easy to
goods. Many men wear toupees or small hairpieces to
augment their natural growth, and, just as the nose employ for suggestions in making a certain or proper
style of hairdress or facial hair on lace.

16C H A P T E R

Types of Hairs and Their Uses

HAIRCAN BE DIVIDED INTO MANY CATEGORIES, WITH EACH cords. You will then have a length of creped or wrin-
type having either a specific or a variety of uses. Among kled hair that must have some of the curl taken out.
the most useful hairs are wool crepe, real hair crepe, The simplest way is to dip the length of hair in very
yak, angora goat, horsehair, and human hair (Figure hot water and squeeze it out on paper towels. While
16.1). Human hair is also divided into many classes holding it up by one end, dry out the hair with a
and grades for various uses (see Appendix B for sources hand-held hair dryer, reversing your hold from end to
of hair goods and supplies). end as the water is dried out. Make certain it is fully
dried before attempting to separate the hair as it will
WOOL CREPE HAIR mat together. It can also be steamed under a damp
cloth with a regular iron or run over with a steam iron
This is the basic and least expensive of the hair types once or twice. Don’t remove all the curl as the hair
and is the one that is generally most available from loses its body; so leave a slight wave in it for use.
suppliers of make-up products. It comes braided over
two strands of cord that must be removed to use the Wool crepe hair does not have really long hairs but
hair. One of the best suppliers is Stein’s of New York, many hairs held together by overlapping, so a beard,
who imports a superior grade of wool crepe. sideburns, or moustache made from this type hail

To prepare wool crepe hair for use, cut a piece of F ~ G U R1E6.1 Hair materials. TOP LEFT: Wool crepe in the braid and
braided hair about a foot long, and remove the two straightened. TOP RIGHT: Hair crepe in the braid and prepared. BOTTOM
LEFT. Angora goat, yak, and horse hair. BOTTOM RIGHT: Combings
(left)and cut hair (right).

244 ’

more delicate and will take less combing than yak or Types of Hairs and Their Uses 245

real hair. As such, once the skein is dried, it can be method is used only for speed and a distant effect of
cut into lengths of about 4 inches. Each of these lengths beard hair as laying such on the face does not produce
is then carefully teased apart laterally to form a sheet a very natural look. Hair used as such would be quite
of hair about 4 by 4 inches. Next, divide the sheet difficult to blend by teasing mats together as one would
into approximately 1-inch widths, and pass a wide- end up with a large blob of hair due to its curliness.
tooth metal comb through the ends of the hair (holding
the length by the middle). Cut off one end square, REAL CREPE HAIR
and lay it down on a single sheet of facial tissue. Do
this with the other three 1-inch lengths, and fold over This is real human and/or animal hair that has been
the tissue and set it aside for later use. In this manner braided together in the same form as wool crepe hair.
a quantity of wool crepe hair can be prepared for im- It is available only from some major hair suppliers.
mediate use. A variety of shades of hair should be When the cords are removed, the skeins of hair will
made ready as such. be 6 to 8 inches in length. To remove some of the
curl, the skein of hair can be steamed with an iron
Wool crepe hair comes in white, blondes, browns, and then stretched with the hands. It must be hackled
to remove the short ends and then blended with other
black, and mixtures of white and black to make various shades to achieve the desired color. Although there are
grays or mixtures of brown and gray. The latter is the many shades available for beard use, the hair should
most useful as it does not have the hard or unnatural always be mixed (unless the beard is pure white or
look that a one-color wool crepe beard can often have. black) in shade to appear natural. (See Chapter 17,
Figure 17.2, for application techniques.)
Special colors such as reds, greens, and so forth are
sometimes available or can be dyed from white using YAK HAIR
regular wool dyes. Mixing shades of wool crepe is easy
Yak hair is from the animal of the same name and
when the hair has been prepared as described here, comes from Asia. It is usually supplied in long, straight
simply by placing one mat of hair over another and hanks 12 to 18 inches in length and of various grades,
from soft to rather stiff, depending upon the part of
then pulling the ends to tug apart the hair into two the animal from which the hair was cut. Although
sections. Repeated laying over each other and then some artists use this hair straight and curl it to the
tugging apart will mix the hair colors thoroughly to desired dress after application, it is best to run it
achieve a better match to the performers’ beard hair. through the pleating machine to give it body and
looseness. It can be mixed with human types of hair
During the combing, in preparing the wool crepe to give it more stiffness, and as it is a thick hair, it
hair into mats, one will find that they are left with is excellent for making laid-on beards and other facial
balls of hair from the combings. These combings can hairpieces.
then be end tugged back and forth to remove the
ANGORA GOAT HAIR
longest hairs (normally they will be about 2 inches
long) and mats of these can be formed that are about This is a specialized type of hair that is quite soft and
an inch wide and, again, laid across in tissues. Such fine and is sometimes blended with yak hair for Santa
lengths are good for moustaches or short sideburns. Claus beards or period powder wigs. It can also be
The remainder of the hair combed out will be quite blended with other hairs to add softness.
short and should be rolled up into a tight, round
length. Holding this tightly between the thumb and HORSEHAIR
forefinger, with the hair scissors, cut across the grain
of the roll in fine cuts, so that the hair is trimmed British clerical, legal, and judicial wigs are usually
only some 1/64 to 1/32 inch long into a small plastic made of this very coarse and stiff hair because, once
dressed, they require very little care. Horsehair is also
container. This finely cut hair can be used to make useful when animal muzzle hair must be simulated in
realistic unshaven effects (Figure 12.36). an appliance because of its stiffness and lack of curl.

As wool crepe hair does not have the shine, weight, HUMAN HAIR
or body of real human beard hair, it must be sprayed
after application to give it a more natural appearance. Natural human hair for wigs, hairpieces, falls, and lace
However, it is seldom used for any principle photog- beards, moustaches, and sideburns can be divided into
raphy today and is mostly employed for extras or on two general categories: cut hair and combings (Figure

large stages (see Figure 1 7 . 1 for the laying of hair).
One trick of using wool crepe hair for very large

casts where beards are seen in profusion in the back-
ground is to work with it directly out of the braid.

The strings are removed on a length of hair, and with-
out wetting it or steaming it, 6-inch lengths are drawn

out of the skein. These are then laterally teased to form

mats about 3 inches wide with one end trimmed. This

246 Hair Goods and the Hair Kit

FIGURE 16.2 Preparing real hair for laying. ( A )Leo Lotito shws two ( H ) Varieties of mixed hair, showing three colors that might be used t o
make a beard. ( I ) A small bunch of hair held between the thumb and
colors of tightly crimped European hair. ( B ) Hand blending the two fortfinger is cut on a slant, then twisted to fan out the hair ends for
s h a h of hair by pulling them apart a f w times b~orehackling. attaching the hair propwly to the face.
(C)Hair being run through a hackle. First the twist, (D)then pulling it
through. ( E ) Two shades of hair can be held in the hackle at one time by
laying irr a small twisted skein of hair crosswise to separate one from the
other. ( F ) Lifting up the hair to separate it. (G)The mixed hair.

Types of Hairs and Their Uses 247

16.2). Cut hair is normally rooted hair-that is, with ARTIFICIAL HAIR
the natural hair growth all in one direction so that the
hair will maintain the ability to be dressed in the same Many excellent women’s wigs and hairpieces are made
manner as growing hair. If strands of hair are added with the fibres Elura and Kanekalon, which are arti-
in an opposite direction, the hair will kink and not ficially created plastic hairs. Early experiments with
lie flat. Leo Lotito, department head of TBS (The synthetic hair produced a glossy, unnatural fibre, but
Burbank Studios in California), explains that this is today these materials are almost indistinguishable from
because human hair has a smooth direction (roots to human hair wigs. Although they lack some of the fine
ends) and a rough direction (back the other way). All dressability of human hair pieces, they are far cheaper
hair used for hairpieces or toupees and fine wigs use in price when that is a factor on a production. Wiglets,
rooted hair, as do falls and switches, so the hair can cascades, braids, switches, and falls as well as some
be properly dressed. Prepared hair for laying beards men’s hairpieces are made with these fibres, and they
and so forth need not be rooted hair as a pleat or ripple can be hand tied just like real hair. Much can be done
will be added to provide body. Such hair can be comb- with these new fibres, and many rental period wigs
ings (the hair combed out of rooted hair during prep- are now made of them as they will withstand rougher
aration) or mixed hair. treatment than a good hand-tied lace wig of human
hair (see Appendix B for suppliers). Synthetic hair is
Most real human hair that is used for wigs and other seldom, if ever, utilized for laying facial hair as human
hairpieces today comes from Europe, and fine European or animal hair normally handles better, is easier to curl
and dress, and has more workability for this type of
hair is preferred by wigmakers over Oriental hair, which use.
is coarser and more difficult to color. Most of this real
hair from Europe is first bleached out and then dyed Acrylic Hair Shades
for use in hairpieces or wigs. All human hair is cleaned,
matched, graded, and bundled for export by highly Artificial hair comes in a number of colors and blends
trained workers before shipment and, like all hair goods, that are numbered from the darkest to the lightest
is sold by weight (except crepe wool, which is available shades. Single colors are numbered 1, lB, 2, 4 , 5 , 6,
by the yard).

248 Hair Goods and the Hair Kit work, mix, and comb long lengths of human or yak
hair. The hackle should be covered after use with a 1-
8 , 10, 12, 16, 18, 2 0 , 22, 23, 24, 27, 30, 32, 3 3 , inch board of balsa wood to prevent anyone from in-
101, and 107. Grays are numbered 34, 36, 38, 39, advertently leaning on it.
4 4 , 51, 56, 59, and 60. Frosted shades are 6 / 2 2 ,
8/22, 10/22, 16/22, and 18/22. For easy selection of A small curling iron electric heater and a series of
these fibres, most wigmakers will supply hair swatches curling irons, from small moustache size to large curl
with the numbers attached. variety, are required for real hair use. Neither the
hackle or the curling irons is ever employed with wool
One advantage of acrylics such as Elura is that they crepe hair. Most make-up artists prefer the smallest
can be cleaned with a mild wig cleanser in cold water, curved moustache irons for their beard work.
swishing them gently back and forth. They should
then be rinsed in two baths of cold water, drained, In addition, a pair each of thinning shears and small
and blotted gently with a Turkish towel. They can pinking shears (for cutting lace) are useful, as are some
then be hung over a hair spray can to drip dry. When small hair brushes. Head forms in hard wood, fabric,
they are dry, they can be brushed to shape according and balsa wood are all used in the wig-making industry
to RenC of Paris, a major supplier of Elura and Ka- to hold wigs, hairpieces, beards, moustaches, and so
nekalon blend wigs and hairpieces. on during manufacture, preparation, and dressing.
Wigmaker’s needles, a small hammer, and some brads
TOOLS OF THE TRADE and other related tools are part of the wigmaker’s tool
kit.
The basic tools are combs and scissors, but since there
are many varieties of each, preferences will occur. In In addition, two or three wig block holders that
the main, a wide-toothed, aluminum tailcomb is the clamp to table tops are useful for holding head and
most practical for the make-up artist as it can be cleaned beard forms as are some curling rollers, hairpins, bobby
off in strong solvents when gums or resins get on it, pins, hair clips, and small elastic bands. One odd tool
and the tail can be used to tease up a flat portion of or apparatus for preparing straight yak or human hair
laid or dressed hair or to press down an edge on a into a useable, natural appearing, slightly wavy variety
beard. Hair or barber’s scissors should be used only to is an oldtime neckcloth pleating machine that can
cut hair-nothing else! Some prefer a long-bladed type, sometimes be hunted down in secondhand or antique
while others select one that has only 3-inch blades. shops (Figure 16.3). This machine will quickly crimp
Whatever feels comfortable and works the best for the or pleat hair passed through its preheated rollers and
individual is the right length of blade. provide a marvelous workability and body to straight
hair. The two brass rollers can be heated with insert
A hackle is a tool that looks like a bed of nails and metal rods that have been preheated in the curling iron
is usually about 2 by 6 inches in size with 2-inch stove, or the machine can be permanently electrified.
spikes. This is clamped to a table top and is used to
FIGUR€ 16.3 A pieating machine. LEFT: The machine i n use. RIGHT:
Pieated mixture of yak and real hair ready for use.

Types of Hairs and Their Uses 249

Some make-up artists purchase electric curling irons Small hairbrush with Needles and thread
and insert them into the hollow brass rollers to heat rattail end; (heavy linen, clear
them up for use. In use, the hair is passed through plastic, and regular
one end of the machine rollers as the handle is slowly Wide-tooth metal
turned. The hair will pass through, and the heated rattail combs; cotton);
rollers will put a nice crimp in the hair. Plastic make-up capes
Box of hair and bobby
A can of aerosol hair spray or the pump type is (two are usually
required as are various hair adhesives. pins; sufficient);
Metal and plastic hair
THE HAIR KIT Pump-top spray
clips; container for water
The on-set hair kit of the make-up artist generally
Color spray in brown, (small);
consists of a soft canvas or simulated leather over-the- blonde, frosty Can of Sterno (canned
shoulder or hand-carry convertible zipper bag. A large white, and silver;
camera bag or a carry-all style is excellent for this use. heat) and a package
The bag should have a number of outside pockets that Hair spray in aerosol of matches;
are zippered (in the case of camera bags) so some of or pump-top spray; Toupee tape (both
the small items can be carried in plastic boxes or clear
plastic bags for ease in finding them. Each make-up Three huck towels, sides adhesive) like
artist will work out the best filing system, but like small roll of paper Secure;
towels, tissues; 8-ounce bottles of
the make-up kit, this hair kit should be kept clean
and organized for immediate use. Safety razor and RCMA Adhesive
shaving cream; Remover and
The large items will fit into the inner compartment acetone ;
of the bag, so it is a good idea to gather all the materials Good hand-held hair Selection of
and tools together first and see just how large one dryer (not one with
wants the case to be. Although some make-up people moustaches on lace
will carry more than others or the job may require it, heat cutoff); in a plastic box;
it is always best to have a large case for contingencies. Selection of elastic
Normally, the cases are lightweight, and it will only Two wig-cleaning
be what is put into it that will give i t the carrying bands; brushes.

weight. Optional Items
One of the most instructive things that a make-up
Electric razor; Business cards, a
artist can do is to compare his or her kit with another Clip-light and bulb;
artist’s to see if and how improvements can be made, Extension cord (heavy notebook, an extra
to compare products and tools, and to check on the
arrangement of the items carried, both in the make- duty) with three- pen;
up and the hair kit. A good professional will always way adapter; Personal items such as
share ideas and innovations with others in the field, Plastic bag with some
but do remember to ask first as the majority does not net for repairing a toothbrush and
take kindly to someone rummaging around in private hairpieces, silk
kits unless permission has been granted. muslin for lifts and toothpaste plus
some mouthwash
Basic ltems other uses, pink for after lunch;
and yellow tissue Shooting script, extra
Heater for curling Clear Dermicel for adding to Old timecards for the
irons; adhesive tape in 2 - Age Stipple;
and 1-inch widths; Small plastic bags and production;
Hackle with balsa gelatin capsules for Polaroid and/or small
wood top; Pair of nylon blood effects;
stockings in flesh Extra make-up 35mm camera and
Hackle clamps; color; supplies that will film (where
Wig block holder; not fit in the kit;
Bag of prepared real permitted);
Moustache iron and hair for facial hair; Wigmaker’s needles
larger iron;
Box or bag of and cut-head
Hair scissors, prepared wool crepe needles (see pages
thinning shears, hair plus some in
pinking shears; braids; 220 and 257);
Two plastic bald caps;
One-half roll of

Bounty Paper

Towels.

17C H A P T E R

Application Techniques

MAKE-UAPRTISTS SHOULD STUDY THE GROWTH PATTERN the adhesive until it is almost dry. Wipe off the finger
of hair on the human body for basic character work with isopropyl alcohol, and coat the area with another
and on animals for any specialized application. Al- thin coat of adhesive; two thin coats are better than
though women’s head hair is seldom in the province one heavy one. Once again, tack the skin with the
of the make-up artist as far as dressing and care, men’s
head, facial, and body hair may have to be duplicated, finger to remove some of the shine and set the surface,
augmented, styled, or created for a production. These then start applying the hair at about the point of the
growth patterns govern the application methods that chin. While prepared wool crepe hair can be laid flat
must be used to make the character being portrayed to the skin, real hair should be trimmed on an angle
as natural as possible. and then twisted between the thumb and forefinger
to form a cuplike shape so that only the ends of the
FACIAL HAIR hair will be attached to the skin (Figure 16.1 (I)).

Facial hair can be grown by the actor, but sometimes From the point of the chin, lay the hair in successive
this is either not feasible because of the style or length layers toward the neck, each layer supporting the next
of growth required for the production, because changes (Figure 17.1). As the hair is applied to the face, it
must be made from shaven to a beard within the day’s
schedule, because the actor andlor director prefer a can be pressed into place with the blades of the scissors.
temporary growth, or sometimes because the actor Keep a wash bottle of alcohol handy to clean off the
cannot grow what is required. Two types of hair ap- scissors often.
plications are possible for facial hair: One type is laid
on the skin with loose hair and an adhesive, then Then repeat the two coats of adhesive and tacking
dressed and trimmed to shape, and the other is a pre- procedure on the front of the chin up to the mouth
pared hairpiece on a base, fully trimmed and dressed, area, and commence laying on hair, a tuft at a time.
ready to be attached. Both have their uses and both The blending edge of the beard should be done in a
are widely employed for production work. lighter mixture of hair to keep it soft in appearance.
Note the growth pattern of the hair in the chin area.
Laid Hair Some men will have more or less hair gtowing under
the center of the lip but seldom have much growing
There are many methods and styles of laying hair on
the body or face, and although there are basic tech- under the corners of the lip. This produces two natural
niques that are rather standardized, many make-up dips rather than a full chinline of hair. If the beard is
artists work out their own special ways and means of to be full, continue once more, on one side and then
doing this. One of the major advances in laying hair the other, with the adhesiveltacking sequence, and lay
has been the advent of the Matte Adhesives as a great the hair, graduating upward layer after layer until the
improvement over old spirit gums. No matter what sideburn is reached.
one did to avoid the shine of the old residsolvent
gums, the result was always an eventual unwanted If natural head hair is to be used for the character,
degree of reflectivity that was hard to disguise on cam- lift the hairs of the natural sideburns, and adhere one
era. Matte Adhesives solved many of these problems layer of laid hair under them. The natural hair can
(see pages 37 and 210 for discussion and information then be combed over the adhered hair to get a good
on adhesives).
blend.
To lay hair directly on the face for a small beard on Always make certain that the very edges of the
a performer, first coat the under-chin area with Matte
Adhesive with a # 10 round sable brush (use the small beardline are fine, well spread, and not matted to the
brush that may be furnished with the container only face. Correct any stray hairs by removing them with
for retouching small areas). Then with the finger, tack
college pliers.
If the same beard is to be built on a face for a number

of days, sometimes time can be saved by attaching an
old lace beard of the correct shade whose edges have
been trimmed back so that the original blend is lost,
creating a new blended edge with laid hair and comb-
ing the two together to form the beard. Always use

Application Techniques 25 1

FIGURE17.1 Application of a beard. (A) Starting t o apply hair under to form a blending edge. ( 0 )Beard is trimmed roughly to shape.
the chin. ( B ) Buildup continued almost t o edge of desired shape by laying ( E ) Finished trimming and a moustache added. ( F ) A different trim of
hair on the face, layer by layer upuurd. (C) Lighter colored hair added the beard utith a different moustache. Both moustaches are on lace.

the minimum of hair for the maximum effect. The same angle, or the effect will be ludicrous. The hair
usual fault of beginners with laid hair is that they use is then trimmed to a basic shape and curled if neces-
too much hair, making the beard too dense and un- sary.
natural appearing. The beard is then pressed firmly on
the face with a lintless towel that has been slightly The smallest irons are best for beard work and should
dampened. This will further set the gum and remove not be overheated in the curling iron stove. Some test
any excess remaining. the iron by crimping a paper towel with it. If it is too

If a moustache is to be laid on, it should be built hot, the paper (like the hair) will be scorched, and if
up with hair layers commencing at the outer end of it is too cold, the crimp won't last. O n location where
the upper lip and working inward. Press the moustache there may not be any electricity for a stove, one can
to the face with the damp towel, and comb and brush
the beard and moustache to remove any excess hairs. heat the iron over a can of Sterno canned heat. Curl
the hair in layers all in a down or under direction in
More often than not, however, a moustache is usu- small sections, and carefully comb out the kink. Only
ally applied by attaching a prepared moustache on lace. real hair can be curled with an iron easily, as wool
Always use the same two coats of matte adhesive, crepe has a tendency to scorch quite readily. The beard
tacking with the finger in between to remove all the can then be trimmed with scissors, and a number of
shine and excess gum, then press on the moustache. styles can be achieved with a basic beard application.
Quite often a make-up artist will cut a lace moustache
in half at the center and apply each side separately to Although all wool crepe beards require a spraying
allow for better lip and mouth movement for the per-
former. Take care that each side is then adhered at the of holding hair spray to maintain their shape, real hair
beards require less. If the beard must be wet for rain

scenes, for example, a spray coat of Krylon will stiffen
and protect the hairs.

252 Hair Goods and the Hair Kit a Pre-Val Sprayer filled with RCMA Beard Spray or
some other type of neoprene adhesive material, spray
Both prepared wool crepe and real hair beards can a fine mist on the beard, taking care not to overspray
be premade on a rubber or urethane form for quick (as it will mat and whiten the hair). This will dry
laying procedures (see page 198). To lay a beard on rapidly. Then the entire built-up beard and moustache
these rubber or urethane heads, give a coat of Matte may be removed as one piece by either turning the
Adhesive to the desired beard area in the same pattern head form upside down and pouring on some acetone
and manner as one would for laying a beard on the to loosen the adhesive, or teasing the beard off the
face, but don’t tack the adhesive with the finger (Figure form with a brush liberally soaked in acetone. The
17.2). As soon as the gum is slightly set, start laying beard should separate from the form quite easily and
the beard in the usual manner. If a laid moustache is can be placed on a formica table to dry. The beard can
to be part of the beard, attach this also. When it is
complete, curl, trim, and dress it as usual. Then, using

FIGURE17.2 Dick Smith lays a small beard. ( A )Running the hair
through the pluter. Dick has electrified his pleatw uith two electric
curling irons for quick heating. ( B ) Commencing the beard after adding a
laypr of adhesive on the headform. ( C ) Trininiing to shape after curling
with the iron. ( D ) The completed beard. ( E l Spraying the beard with
beard setting spray using a PreVal Sprayw. ( F ) Using a polyethylene
squeeze bottle filled with acetone. he loosens the beard from the form uith a
brush as he squirts the beardfrom the bottom upward. ( G ) The beard
removed intact. (H)Testing it on the actor’sface cast fOrfit. ( I ) A
Lincolnesque Dick Smith with his creation held up to his face. (J) A
PreVal Sprayer and bottle. Dick prefers the use of RCMA Matte

Plasticized Adhesive for laying hair on the face as it gives him better

uwking time and has excellent dry hold.

then be trimmed on the edges for stray hairs and pinned Application Techniquar 253
up on a cork board ready to use. To attach it to the
skin, simply coat the skin in the usual manner with Prepared Hair Goods
Matte Adhesive, tack between the coats, place the
beard on the face, and press it in with a damp huck These are beards, moustaches, sideburns, eyebrows,
towel. small fill-in pieces for the temples, or toupees for men
(Figure 17.3). Only on rare occasions will eyebrows
Care should be taken that the RCMA Beard Spray be made for a woman’s make-up. They are all usually
is used only in a well-ventilated room due to the strong made by tying real hair (generally human hair) into a
solvent (MEK), and that it is only diluted with this netting, or face, with wigmaker’s knots in a process
same liquid. Never use this spray on a beard attached called ventilating. The net can be made of fine silk,
to a human face because the fumes are so strong and which is used for the best hair goods for the screen or
inflammable. street, or of a coarser and heavier nylon lace used for

Some amateurs try to use gum latex on the face as
an adherent and then remove the beard intact for a
further use, but this is a very unsatisfactory method
as the latex becomes very gummy and shows up con-
siderably. What might seem to be a good idea on a
large stage certainly is useless for the screen. If the
adherent shows, if the beardline is noticeably false, if
the hair is matted down or badly laid, or if the density

of the hair is too thick and unnatural, the whole thing
looks artificial and hokey. There should be no question

whatsoever with a laid hair beard; it must look like
natural hair.

254 Hair Goods and the Hair Kit

FIGURE17.3 Prepared hair goods. LEFT: Checking a beardfor size. moustaches, sideburns, and eyebrows can be lightly
MIDDLE: Attaching the beard and pressing the lace to the face, RIGHT: sprayed with a hair lacquer to preserve the set, but a
Placing a wig in position on the head, holding it propwly by the tabs on
each side. good toupee (like a good wig of human hair) should
never be sprayed.
stage hair goods or utilitarian pieces not used in close-
ups. To attach lace goods such as beards, moustaches,
and sideburns or eyebrows, hold the piece on the de-
There are several grades of lace, from the finest to
the coarsest, and the better it is, the harder it is to sired area and note where the blend of the lace meets
find for wigmakers today. Josephine Turner, the grand the skin. Remove the piece, coat the area with a thin
lady of the wigmakers in Hollywood, says that good application of Matte Adhesive, and tack it with the
hair lace making is a disappearing art and that most finger until it is set. Then apply a second coat in the
workers today don’t want to take the time to study same manner, and place the lace piece over the area,
the fine points of the trade. However, there are a few pressing gently into place, making certain that it is
good makers of prepared hair goods and wigs both in centered properly. Go over the lace edges with a bit
California and New York who work almost exclusively of Matte Adhesive to be certain that they will be ad-
for the professional industry. There are also many oth- hered to the skin. Don’t use an excess of Adhesive,
ers who make quite adequate pieces and wigs for the only a bit at a time. Then, with a dampened huck
opera, stage, and amateur college productions (see Ap- towel, press the edges and the piece into place. Some
pendix B). make-up artists prefer to use a nylon stocking or a
piece of nylon cloth for this, but these do not absorb
The wigmaker’s knot is performed as shown in Fig- any of the excess gum. A huck towel that is dampened
ure 17.4 with a special hooked needle, tying the hair
into the lace. It is best to nail the lace being worked will not adhere to the Matte Adhesive, but will pick
on to a hard wood block with 5/8-inch fine wire nails up any excess and also aid in setting.
to get a tight surface. Wigs can be held in the same
manner to a hard wood block for dressing, too. Drive The main mistake many learners make is to use too
the brad halfway in, and bend it over to hold the lace
tightly to the block, stretching the lace as each nail much adhesive, then not tack it properly. Just waiting
is driven in so that the surface will be smooth and free for the solvent to evaporate often leaves some shine to
of wrinkles. the resin, and it does not dry as fast as when it is
finger tacked. Live television in the 1950s saw too
A good toupee has a gauze mesh top with a silk many lace pieces fall off faces at inopportune times due
lace front. The hair ties are larger-that is, more hairs to adhesive that was not properly set.
per tie-in the gauze, and the ties become spaced more
closely together and with fewer hairs in the lace front, As perspiration is the prime enemy of good adhe-
down to individually tied hairs for the blend. On cam- sion, sometimes lace goods should be attached with
era a fine toupee’s front is quite indistinguishable if Matte Plasticized Adhesive, Matte Adhesive # 16, or
it is applied correctly. Never put any foundation under even with Prosthetic Adhesive A when the climate is
a fine toupee’s lace edge as it will certainly discolor it extremely humid or the performer perspires freely.
when it is adhered to the head. Only the latter is not a resin adhesive and is truly

Prepared hairpieces can be dressed on a block prior water resistant. Men’s toupees should be applied by
to use on the face. Water is used for the dressing and first centering the piece on the head area, then holding
then curling can be done with a hot iron. Beards,

it lightly, applying Matte Adhesive over the lace, and Application Techniques 25 5
pressing the lace into the skin with a lintless huck
towel that has been slightly dampened until all the often has a great amount of extra lace. This should be
RCMA shine is gone. Some make-up artists prefer to trimmed off to within about 1/2 inch from the start
use a Matte Lace Adhesive. This product is applied in of the hair ties in the case of a toupee and about 114
the same manner over the lace but is not tacked. It inch for beards and sideburns. Moustaches and eye-
will dry rapidly and with no shine. Sometimes a second brows can be cut even closer to lessen the likelihood
coat of the same adhesive is necessary to seal the lace that the lace may be seen. Normally, moustache and
edge. In all cases, don’t apply any make-up foundation eyebrow lace is cut with straight scissors, but beards
under the lace. With the Matte Lace Adhesive, there and sideburns, as well as toupees and other small hair-
is less chance of foundation staining the lace, but it pieces for the front of the hairline, should be cut with
is also more difficult to remove from the lace. small pinking shears to produce a less obvious edge
for a better blend. Sometimes after many uses, the lace
To remove any lace piece from the skin, dampen must be slightly trimmed back to get a less stringy
the lace with isopropyl alcohol to loosen the adhesive, edge, When the lace becomes too worn or fragile in
then carefully strip the piece from the skin. The skin a toupee front, it should be taken back to the wigmaker
can then be cleaned with Adhesive Remover, and the for refronting with new lace and some replacement of
lace piece is best cleaned with acetone. Lay the item the hair blend in front.
to be cleaned face down on a dry huck towel, and with
a wig-cleaning brush saturated in acetone, press the Wig cleaning should only be done with special
adhesive out of the lace onto the towel. A few soakings cleaning fluids and never with shampoo as with natural
will remove all the gummy residue. Do not brush the hair. The piece must be thoroughly dry before any
lace vigorously as it can be easily torn by this action. restyling is done.
Instead, with a stippling motion with the brush bris-
tles, force the solvent through the lace. Move the lace If a man is quite bald on the top part of his head
piece to another area of the towel, and repeat this and the only adhesive holding the toupee is on the
procedure until the piece is clean. Take special care front lace, any slight wind is apt to blow the piece up
with toupees that have the finest of edge lace. in the back during exterior scenes or any strenuously
physical ones. It is a good idea to attach a piece of
To take a hair sample when a wigmaker will make two-sided clear tape (such as Secure Tape) to the hair-
a man’s toupee, use the scissors in a sliding motion piece gauze in the back part of the toupee and press
(on the underneath layer of hair in the back of the it firmly to the scalp to avoid any such mishaps. This
head) to the length of the hair while cutting. In this type of tape is readily removed after each use, and a
manner, the cut will not be seen as a clipped-out area new piece should be put on every time. It is not a
as it would be if a straight cut were made. sound idea to use a liquid form of adhesive for this
attachment area as the adhesive might stain the gauze
When a made-to-order lace piece is delivered, it or be difficult to remove. When a man has some top
hair, instead of this two-sided tape, some wigmakers
43 will provide two small clips, one on each side of the
U rear of the toupee to affix to the natural hair.

FIGUPE 17.4 Wigmaker’s knot. Made with a special booked needle There are also laceless toupees-that is, without a
tying the hair into the lace. The stages are shown in left to right columns lace front-that are attached either with the toupee
of the diagram, top to bottom. tape or by clips to the man’s own remaining hair.
Many of these are made in artificial fibres such as Elura,
with the filaments hand tied to a special base. Such
are easier to take care of than real hair ones and are
sometimes used when an actor must do a great amount
of physical exercise or be in adverse, hot, humid weather
conditions as a second hairpiece. As they are far cheaper
than real hair toupees, budgetary factors might play
a part in their selection as well. Rene of Paris in North
Hollywood makes a number of various stock and to-
order styles in the Elura fibre in a great variety of
shades, grades, and cuts. Also see page 7 3 on small
frontal hairpieces.

In dressing any prepared lace hair goods, use a wide-
tooth comb, taking care that the teeth never reach
deep enough into the hair to catch on the lace. Also,
after removal, the piece should be examined for any
damage to the lace and repairs made with a needle and
thread. The hairs should be carefully combed and stray

256 Hair Goods and the Hair Kit blending off the edges with acetone. RCMA Plastic
Molding Material can also be used for this, either
hairs straightened out with college pliers to fall in the painting the Plastic Molding Material directly on
flow pattern of the hairs. the skin and drying it or premaking an appliance
in the desired shape for attachment over the hairs.
Lace moustaches can be stored in small cellophane PMA Matte Molding Sealer can also be used over
or plastic bags or, to keep an even better shape, pinned the hairs.
to a series of cork boards for storage in a cabinet. 3 . Make a foamed latex appliance to cover the hair
Eyebrows and sideburns can be stored by pinning them area (which might contain a new brow shape).
to the same type of board or kept in plastic boxes. 4. Attach a piece of silk organza or muslin about 1
Beards can also be stored in plastic boxes. The type
of covered box sold in department stores for shoes or by 3 inches in size, cut on the bias so that it will
sweaters makes an excellent dust-free container for any
hair goods including toupees and wigs. stretch, and cover the flattened hairs with another
light coat of Matte Adhesive. Press the silk into
Natural Hair the adhesive with a damp towel and then thor-
oughly dry. A stipple coat of eyelash adhesive or
Many times, a performer’s natural hair can be dressed, Edge Stipple material can then be applied over the
cut, or styled to suit the character being played. Straight area and dried.
hair can be curled or vice versa, dark hair can be
lightened, or light hair can be darkened with hair Foundation can be applied over any of these blockers
color. Sometimes the hair is bleached out to remove to finish the job. Depending upon the visual effect
all the color and then retinted to achieve the proper required, some of these methods produce a stiffer cov-
shade. Some actors have even had their head partially ering than others.
or completely shaven to play certain roles-to avoid
having to wear a wig or bald cap every day of the To block out just the ends of the eyebrows to create
shooting. Of course, if there is time, men can grow a racial change for a Caucasoid to an Oriental, comb
facial hair if it suits the character, or sometimes the the first two-thirds of the brow forward toward the
natural facial or body hair must be removed. There nose, and hold back the hairs while applying a coat
are many types of depilatory creams that will do the of Matte Plastic Sealer over the remaining hairs. Press
job quite well on body hair. and flatten these out, powder the area, and apply some
foundation over the covered, flattened hairs before
Stubble Beards combing the rest of the brow back in shape. End hairs
are far easier to disguise with the simple flattening
Stubble beards can be done with a coarse urethane or than the full brow, whose hairs nearest the nose are
red rubber sponge that has been touched to a shade of often more unruly and seemingly coarser. By the way,
foundation of a dark gray or gray-green color and then wool crepe hair right out of the braid, pulled to a thin
lightly stippled on the growth area to simulate hair. mat, can sometimes make a very effective heavy or
This will just produce a lightly unshaven effect. character brow that can be attached on the skin over
the brow or over a brow covering as described previ-
Finely chopped wool crepe hair can be applied to ously.
the face with a damp polyurethane sponge or natural
silk sponge after the application of a coat of tacked BODY HAIR
Matte Adhesive. The damp sponge will pick up the
fine hair (various shades can be cut into plastic con- Body hair is often finer than head or beard hair and
tainers), and transfer them to the face while the damp- sometimes grows in profusion on a man’s body, or at
ness of the sponge will set the resin in the gum. Excess times, very little is seen. Most prehistoric men had a
hair can be carefully brushed off, and a good unshaven profusion of body hair growth, as will of course special
look results. character changes in transformations of men to ani-
mals. Heavy body hair is sometimes used to delineate
Blocking Brows a rough male character in a film.

Most brows can be blocked out by combing the hairs Body hair can be simulated in many ways, but one
out flat and applying a coat of Matte Adhesive, press- method is to pull wool crepe hair directly from the
ing the hairs down with a damp huck towel and braid and form a sheet of hair that is attached to the
smoothing them out after powdering with a small desired area with Matte Adhesive that has been prop-
dental spatula. After this first step, a number of meth- erly finger tacked. For a large chest section, a hair mat
ods can be used to complete the blocking: can be made with hair and then one side of it sprayed
(using a Pre-Val Sprayer) with a diluted Prosthetic
1. Cover with a light coat of Plastic Molding Wax Adhesive A. Use only Prosthetic Adhesive-A Thinner
and then go over this with two or three coats of for the dilution because some other solvents are harm-
Matte Plastic Sealer.

2 . Cut a piece of cap material slightly larger than the
hair area, and attach this over the flattened brows,

Application Techniques 257

ful when the vapors are inhaled. The skin area can
then be sprayed with the same adhesive and both al-
lowed to set. Carefully place the hair mat over the
area, and press it on lightly so as not to mat down the
hair. This will hold even if the actor perspires.

Body hair can also be laid on a bit at a time with

real hair for close shots (see Figures 15.2a, b and 15.7)
or imbedded in an appliance. This latter method is
usually done with a needle whose head has been cut
off to form a forklike instrument that is used to poke
individual hairs or tufts of hair into an appliance. If
the growing hair effect is to be done, the hair must

be pushed right through the prosthesis (normally it
will be 1/8to 1/4 inch in thickness) and pulled through
to the desired outside length. Long hair is used for
this so that the hairs can be gathered together and,
for the effect, all pulled through the artificial skin
appliance.

WIGS, FALLS, A N D OTHER FIGURE17.5 Diagram for head measurements.
HAIRPIECES
the wig front over the forehead. The rear of the wig
The proper fit of wigs for men and women can be is then pulled down until it fits snugly on the head.
assured with a head measurement. Also, for making Holding the wig firmly on each side of the head with
a correct beard or sideburns, facial measurements can the open palms of the hands, slide the wig front-back
be taken to send to the wigmaker. until the desired hairline is reached. Comb back any
stray hairs that may be under the lace or from the front
Measuring the Head of the wig. The lace should be attached to the head
just in front of the natural hairline so that the hair
Following the illustration of the head shown in Figure growth does not appear to be too far down on the
17.5, measure as follows: forehead. Take care also that stray natural hairs do not
prevent the wig lace from setting flat to the head.
1. Around the head from the hairline in front to the Matte Adhesive can then be applied over the lace and
end of the hair growth in the rear (pole of the neck), pressed into the skin with a damp huck towel. Some
make-up artists prefer to roll back the edge of the lace
2. From the front of the hairline on the forehead to a bit and apply the adhesive to the skin, tack it with
the pole of the neck, the finger, and roll the lace back over the adhesive
and press the edge into the head with the towel. Blend
3 . From temple to temple around the back of the head, the foundation up to, but not over, the lace edge.
4 . From ear to ear over the top of the head,
5. From ear to ear across the forehead at the hairline, T h e Half-wig or Fall
6. From ear lobe to ear lobe across the pole of the
At times, to preserve a natural look to the front of
neck. men’s hairlines, the half-wig or fall is used. This is
attached to the hair behind the front of the hairline.
Beard measurements are made from: The first third or half of the hair is combed forward
over the forehead, and the fall is attached to the edge
a. The end of the sideburns to the other side over the of the remaining hair with metal clips that hold firmly
point of the chin, to the hair. The front hair is then combed back over
this half-wig and blended together so that the hair
b. The corner of the mouth to the other corner, under length is increased. With no lace front, the appearance
the chin as far back as the beard is required, is very natural.

c. The center of the lip to the depth of the beard. Smaller versions of this type of fall can be employed
to make queues or braids for period hairstyles, or just
These measurements are best taken with a cloth tape to lengthen the hair slightly in the back. These are
and given to the nearest 1/8 inch for exactness.

Applying a Lace-fronted W i g

To put a wig on a head, the performer’s own hair must
be held flat to the head with bobby pins or even a
nylon stocking if there is a great amount of hair. Short
haircuts seldom require this treatment.

‘Holdthe back of the wig with both hands, and slide

258 Hair Goods and the Hair Kit plication. Take care that the eyecolor/water mixture
is not too thin so as to run freely or too heavy to
affixed in the same manner, but farther back on the cake on the scalp and overdo the effect (see Figures
head, by lifting up a section of hair, attaching the 7 . 2 7 ~and d).
clips, and combing the hair back over the piece. Actors
often prefer half-wig/falls as they are much more com- 4 . Nestle LaMaur Company makes many colored hair
fortable to wear than wigs and often more realistic in
close shots. sprays. The trick is not to use too much spray as
it will mat the hair readily. In addition to browns
Women’s Wigs and Hairpieces and black, there are some bright colors for fantasy
characters.
Women’s wigs and hairpieces are normally handled by
the hairstylist, and they can be lace fronted or held Lightening the Hair
on with clips, combs, or various pin arrangements in
the manner of the half-wig to utilize the natural hair Temporarily lightening dark hair to blonde can best
front. They can be made of human hair or Monsanto’s be accomplished with the hair sprays in blonde, gold,
acrylic fibres (such as the Elura and Kanekalon blends), and so forth. Sometimes a spray of white is required
and basic hairpieces can often be styled in a number before the colored spray, but be careful not to get too
of fashionable ways. much on. It is always best to complete any styling
that is required before spraying because brushing or
Many wigs and hairpieces for both men and women combing the hair after the spray is applied will often
are made of wefed hair, which is a method of tying reduce the effect. The hair can also be fully bleached
hair tufts on one end into three cords to form a sheet out and then tinted (see page 100).
of hair. These can then be clustered, coiled, laid in
successive overlapping layers on a base, or a number Graying the Hair
of other ways to make a full or partial wig, fall, braid,
ponytail, or switch to cover both modern and period Although this is a form of lightening the hair, it is
styles. A good studio hairstylist can do marvelous things usually in the realm of age character make-up rather
with a number of switches or wiglets in creating styles than just a hair color change. There are a number of
(see page 262). methods used to gray hair, but these are the generally
employed ones:
HAIR COLORING
Use the white and silver hair sprays when doing a
This can be divided into temporary and permanent full head of hair. Sometimes a bit of beige will add
coloring, but make-up artists normally deal only with a good touch of yellowing in the hair for age. The
the temporary changing of a hair color. Permanent hair should be dressed and then the white and pos-
hair coloration is done by the hairstylist for both men sibly some beige sprayed on to lighten and gray the
and women. hair, Highlights can then be added with the silver
spray. The face should be covered with a towel while
Darkening the Hair doing this to keep the spray away from the foun-
dation area and from the edge of the hairline. This
Temporary darkening of light hair, whether it be blonde edge is best done by spraying some white and silver
or graylwhite, can usually be done with the following: into a container, and using an eyebrow or even an
eyelash brush, carefully apply the whitening to the
A darker pencil, held rather flat to the hairs, will hairline, brushing it in the direction of the hair
temporarily color grayed brows or sideburns on men. growth. This spray does not come off on hats as
It can also be used on the scalp to draw fine lines readily as some of the other creme varieties of tem-
to simulate hair growth when a man’s hair is thin porary hair whitening.
on the top of the head or the front of the hairline. Hair whiteners in White, Grayed White ( H W - l ) ,
This lining must always be carefully brushed in Pinked White (HW-2), Ochre White (HW-3), and
with a brow brush so that it appears natural and Yellow White (HW-4) are available for graying
not pencilled. brows, natural moustaches, or sideburns by apply-
Cake mascara in various colors can be used to color ing them with an eyebrow or wig-cleaning brush.
hair, but one must take care that the application Most of the liquid hair whiteners dry too flat for
is done lightly so that the mascara does not cake screen use and must be shined a bit with hair spray.
or group the hairs as it sometimes does on the This is not a very satisfactory method as the hair
eyelashes. spray might make the dried liquid whitener run or
The small bald spot that some men get on the crown the spray cannot be easily controlled. These creme-
of the head can be minimized (if the rest of the hair base hair whiteners are not intended for fully gray-
is dark) with various shades of Eyecolor #1 (water ing or whitening a head of hair but only for spot
applied) in black to light browns. These are best graying.
applied with a #12 flat sable brush in a light ap-

Application Techniques 259

FIGURE
17 6 Beards,
moustaches, and
sideburns. Examples
of various styles of
facial haw.

HAIR SPRAYS AND OTHER Middle Eastern or Arabic beards, moustaches, and
DRESSINGS hairstyles have been worn in a number of standard cuts
and stylings over a great many years. Even today many
There are many types of hair sprays on the market that styles that might be termed as period ones will be seen
are overly perfumed and should be avoided. Some man- on men of that area (Figure 17.7).
ufacturers do make the unperfumed variety, and be
certain to select a hard or heavy-hold type. Instead of BASIC WOMEN’S HAIRPIECES
the usual aerosol spray, there are some hand-pump
sprays that are easier to use on small areas. Solid or Leon Buchheit describes a number of women’s hair-
liquid brilliantines will give a shine to hair, and there pieces that can be made in real human hair or acrylic
are also aerosol spray varieties of this product. Ban- wig fibres (Figures 17.8 and 17.9). As with thosemade
doline or wave sets can be used to dress the hair in by Josephine Turner, they are all made to order and
certain patterns or styles, with the former giving a far require accurate hair samples for a proper match to the
stiffer end product. Curls and points on moustaches hair area to which they will be attached (also see other
can be dressed with plastic wax material in the clear wigmakers in Appendix B). Many hairpieces are sewn
shade. Petroleum jelly can be combed into the hair to to net caps in various shapes (Figure 17.10).
give it a very slick look for some 1920s styles or just
to keep hair flat to the head. ATTACHING A HAIRPIECE

STYLING HAIR AND HAIR GOODS Figure 17.11 shows the steps needed to attach a hair-
piece correctly.
Both natural and prepared hair can be cut, dressed,
and styled to achieve different looks and periods. Men’s REMOVING A LACE HAIRPIECE
styles change less than women’s fashions, in the main, OR WIG
for head hair, but men’s beard and moustache styles
vary in periodic and often age-level times. In the twen- While wigs and hairpieces that are simply clipped or
tieth century we went from copious facial hair in the pinned on can be easily removed by detaching them,
first decade, through a long period of few beards, no a lace front wig or toupee should have its lace wet
long sideburns, and a smattering of finely cut mous- with alcohol to soften the adhesive and then, grasping
taches to the 1960s when facial hair began to appear the back foundation of the wig with a hand on either
more frequently along with longer head hair in many side, carefully pull it up and forward until it reaches
styles from trimmed to totally unkempt. the lace. Then gently peel the lace from the softened
adhesive. The skin can be cleaned with RCMA Ad-
The trend of more than the usual percentage of facial hesive Remover and the lace on the wig cleaned as
hair has continued through the 1970s and into the usual with acetone. The wig should then be placed on
1980s, but the great majority of men is still clean a block and pinned down to hold its shape and styling.
shaven or sports some form of moustache. A few basic
facial hairstyles are shown in Figure 17.6 for descrip-
tive purposes of both modern and period cuts.

260 Hair Goods and the Hair Kit

FIGURE17.7 ( A ) Various Arab facial hair styles. f B i Various
Eastern facial hair styles.

Application Techniques 26 1

262 Hair Goods and the Hair Kit
FIGURE17.8 Some basic women's hairpieces. (Courtesy Leon Bucbbeit.)
(A) Hand-wejted cluster of curls. ( B )A round base surrounded by one
wire wefed into the hair. ( C ) A wire cluster hand wefed on a 4-inch
diameter flexible wire foundation. ( 0 )A basic braiakdpony tail that can
be warn down w opened or chignoned. ( E ) A basic bun attached with a
barrette that cannot be seen. ( F ) A clip-on hairpiece on a barrette that can
be styled as a chignon or in soft, loose curls. ( G ) The French fall is hand
wefed with a band-ventilatedfront. Made in many lengths. ( H )A
grand fall on a heightened triangular foundation. A& bulk, body, and
length to the hair.

RENTAL WIGS AND HAIRPIECES Application Techniques 263

It is always good form and custom to clean carefully -FlGURE 17.9 Finished make-up and hairstyles (with hairpieces).
and take proper care of a rental wig or hairpiece as if
it were the property of the make-up artist. A good ( A ) Short. lipht blond: ( B ) medium. hrkw blond: (C) short. medium
and cooperative wigmaker or renter of hair goods is a auburn; (D)curly, long blond; ( E ) curly, long, light blond.
great asset to a make-up artist who must rely on them
to fit the performers sent to them for hair goods.
Establishing a reference book (such as Wilcox’s Mode
in Hats and Headdress, 1949), using page and picture
references to select and order certain hair goods with
a wigmaker, saves much time as orders can be placed
by telephone.

One last note on men’s toupees: Some actors are very
sensitive about not wanting the public to know that
they are wearing a toupee, so take care about retouch-
ing or re-adhering a loose toupee on set. Get the actor
aside or in his dressing room to do any retouching.
Always take excellent care of an actor’s toupee, clean-
ing it carefully after each use, recommending cleaning
or a new front when required, and the performer will
sincerely appreciate it.

264 Hair Goods and the Hair Kit

FIGURE17.10 Net caps. (Courtesy Leon Buchheit.) This roughly
triangular type as well as the round style are the most common variety.
Sometimes small combs are sewn into one end of the piece to use as an
anchor fir attaching it to the natural hair.

\3

IL' \

7

FIGURE 17.11 Attaching a hairpiece. (Courtesy Leon Buchheit.) STEP on the hairpiece, proceed exactly as in Steps 3 , 4 , and 5 , and set up the
I Comb all but one small section of hair, about one square inch at the lower anchoring section. STEP 8 Push comb attached to the hairpiece into
front, and one small section at the back (where the hairpiecefoundations the front anchoring section. Tease a small strand of hair from underneath
ends) out of the way. STEP 2 Tease, then flatten these small anchoring the hairpiece and pin to lmuw anchoring section. STEP 9 Comb the hair
around the hairpiece to blend with the subject's own hair. The closer the
sections. STEPS 3 and 4 Insert hairpins from the side, weave hairpin hairpiece is anchored to the scalp, the securer it will feel and the more
undetectable it will be.
through, flip wer, and push through. STEP 5 Repeat, inserting hairpin
from the bottom, and reverse to lock the first pin. STEP 6 The crisscrossed
pins are the anchoring section. STEP 7 Judge the length of the foundation

This page intentionally left blank

.ANewBeginning .

As THE STUDY AND LEARNING PROCESS OF THE ART OF new materials, and new talent. All of us must seek to
make-up is a constantly changing and desirous direc-
encourage the beginner with the avid mind and hands
tion for the professional, there cannot be a simple so anxious to emulate the accomplishments of those
conclusion to this book, but rather a challenge to go working in the field, and it is this way our art and
beyond, where others have not tread, with new ideas, craft will be perpetuated.

Appendix A

PROFESSIONAL MAKE-UP PRODUCTS

EQUIVALENCY CHARTS RCMA MAX FACTOR NEGROES
The one basic factor that separates professional
make-up foundations, shadings, counter- KN-3 665-0 (MEN AND WOMEN)
KN-4 665-P
shadings, cheekcolors, and lipcolors from their KM-8 665-L All color: from Toasted Honey
commwcial, or even theatrical, counterparts is F-2 Fair through Ebony
accurate consistency of shades and colors. With K- I K- 1
K-2 K-2 or 665-J These recommendations are interchangeable
commercial and theatrical make-ups, exact K-3
day-to-day color matching does not have the KN-5 665-K for film or tape, although for live television
Eddie Leonard or talk shows one shade deeper than the norm
importance that mediums of the screen de- KN-6 is employed due to the overall set lighting
KN-7 (Pancake shade) that is flatter than for normal production
mand, as the former are only seen in person KT-3
for that day, while the latter require day-to- KT-34 Negro 1 lighting.
KT-4 Negro 2 or 665-R
day constants in tonality. Skin testing is a RJ-2 Light Egyptian COLOR FOUNDATIONS
necessity to maintain exact color matches for Dark Egyptian
KW4M3 Tahitian Ivory Warm Tan
all professional make-up materials. However, KW-38 KF-7 (Pancake
Truly Beige Tan-del- Ann
shades of make-up with either the exact names shade)
or for similar uses do vary somewhat from Golden Tan Fair & Warmer Tawny Tan

manufacturer to manufacturer, depending Natural Tan Light Peach Fern Tan
upon their assessment of values for specific
Pink ‘n’ Pretty Bronze Tone
purposes. Actual screen tests are the final
method of determination, so that equivalency Peach Jan Tan
charts are approximations of the color or shade
value as they are expected to appear on screen Rose Medium TNT
Light Beige Light-Medium Peach
under normal lighting conditions rather than
the same number or name of the shade. The futility of matching printing inks with Light-Medium Beige Deb-Tan
Medium Beige Suntone
It is not practical to simplify the multitude how foundations appear either in the con-
of foundations made by various manufacturers tainer or how differently on the skin precludes Medium Dark Beige Medium
Bronze Beige Tan I1
of professional products in a basic comparison professional manufacturers from attempting Tan Shibui
chart so we shall only show some former Max to make commercial color charts as exact com- Xtra Dark Tan Deep Olive
Factor numbers that were quite familiar in Chinese I
paratives but only for advertising purposes in Hot Chocolate Chinese I1
the field to the current approximate RCMA brochures and such. Sumatra Western Indian
equivalents. W e shall then list the recom- N- 1 Tawn-Shee
CUSTOM COLOR COSMETICS BY Natural Tan BT6
mendations of the other two leading profes- WlLLlAM TUTTLE Dark Beige
BT7
sional cosmetics for screedtheater use, and a An Academy Award, 20 years as head of the Toasted Honey 11019 (Dark Tawny
listing of a theatrical make-up firm as well. Cafe 0 1 6
make-up department at MGM, and over 400 Tan)
(It should be noted that some of the Max feature film credits have distinguished Wil- Rahma K- 1
Factor numbers are still available.) liam Tuttle in the field of make-up artistry. Bronze Hi-Yeller
His line of cosmetics, albeit limited to basic Natural Tan
RCMA MAX FACTOR straight make-up materials, has been de- Tan
Chocolate Cream Ebony
KW-1 CTV-2W signed for professional use. His personal pref- Tan Tone Desert Tan
KW-2 erences in average situations are as follows CTV-8W
KW-3 CTV-3W
KW-4 Olive or CTV-4W (Light to Dark): BT5
Deep Olive or
KW-5 NORMAL WOMEN CORRECTIVE CONTOURING
KW-6 CTV-5w
KW-7 725 A Medium Beige TAN EFFECT Special Hi-Lice (For erasing circles under eyes)
KW-8 725 B Deep Olive Hi-Lite (For contouring)
KM- 1 Medium-Dark Suntone Shadow I (For contouring)
KM-2 725 BC Natural Tan Shadow I1 (Darker than Shadow I)
KM-3 725 CN Beige Tawny Tan Blusher
KM-5 CTV-6W Tan-del- Ann Tan Rouge (Used with dark foundations)
KM-36
KM-37 CcmT V--a7ww NORMAL MEN Sunburn Stipple (For an outdoor look)

725 EN Dark Beige TAN EFFECT Red-out (For erasing darkened areas)
Natural Tan
665-G Tan Desert Tan CTV Rouge
665-1 Xtra Dark Tan Mauve Blusher
K- 1 Persimmon Piquant
Jan Tan
007

268 Appendix A

EYE ESSENTIALS PRESSED EYESHADOW Y Series: Olive skin tones
Y-3 Medium Olive
20-30-40 Eye Shadow Toast Navy Blue Y-5 Deep Olive Tan
CoCo Bare
0-Dee Silver Rust
Frosted Eye Shadow Duos
Lavender-Mist Gold Leaf American lndian Series
Chamois/Burnt Spice 1-1 Golden Copper
Pearl BlueKaribbean Blue Plum Iridescent Taupe 1-3 Bronze
1-5 Dark Bronze
Burgundy Dark Brown

CAKE EYELINER

PROFESSIONAL PENCILS Black Blue Mexican Series: Olive brotvn tones
MX-1 Olive Brown
Black Light Brown Brown-Black Iridescent Turquoise
Charcoal Grey Auburn MX-3 Ruddy Brown
Brown Green
Midnight Brown Taupe
Plum Iridescent Green
Dark Brown Beige
Silver Iridescent White Natural Series
Medium Brown 1, 2, 3 , 4 , 5, 6
Deep Olive
LIP ESSENTIALS PEARL SHEEN LINERS

Mango Mist White Bronze M Series: Medium warm brown tones
Lip Glosses Green Copper M-1 Juvenile Male

Ming Coral Turquoise Mango M-2 Light Suntone
Bacchante Brown M-3 Medium Tan
Castiliana Red Royal Blue Dusty Rose
M-4 Deep Suntone
Sapphire Cabernet M-5 Desert Tan

Shirnmering Lilac Rose

SKIN CARE ESSENTIALS Ultra Violet Brown

Cleansing Lotion (Dry and Normal Skin) Amethyst Walnut CREME LINING COLORS
Freshener (Dry Skin)
Freshener (Normal Skin) Gold Charcoal Dark Sunburn Gray
Oily Skin Cleanser
Oily Skin Astringent BEN NYE MAKE-UP Fire Red Beard Stipple

Moisturizer (Dry and Normal Skin) Ben Nye was the director of make-up for 20th Blood Red Black
Skin Conditioner (Very Dry Skin) Century Fox for many years, and his make- White
Facial Scrub (All Skin Types) Maroon
Sun Screen Moisturizing Lotion up line is a reflection of his high standards Misty Violet Forest Green
of artistic quality. Now operated in Los An-
Purple Green
geles by his son, Dana, this firm has an ex-
Blue Yellow
tensive list of products for use in screen make-
up as well as being the leading supplier to Sky Blue Orange
college drama and visual arts departments
Also, Extra Fine Translucent Powder and Blue-Gray Sunburn Stipple
Prosthetic Make-up can be had on special around the country.
For the screen, Dana Nye recommends N - Red COLOR LINING PENCILS
order to match any listed color. Maroon
3, Deep Olive, N-6, and T - 1 for Caucasoid Iridescent Violet
CREME CHEEK ROUGE women and M-I, M-2, M-3, Y-3, and M-5 Rust Iridescent Blue
for men. The most popular Negroid shades Iridescent Green
DRY CHEEK ROUGE are 27, 28, and Dark Coco. In the N series, Violet Gold
N - 1 is the fairest for light complexions. Blue Silver
Red Red Green White
Raspberry
Dusty Rose
Coral
Raspberry
Dark Tech
Dark Tech CREME-CAKE FOUNDATIONS EYEBROW PENCILS

Coral White Light Brown Dark Brown

Blush Coral Black Auburn Charcoal Gray
Ultra Fair
CHEEK BLUSHERS CREME HIGHLIGHT Old Age Medium Brown Midnite Brown
Bronzetone
Dusty Pink Extra Lite Dark Coco Black
Nectar Peach Medium
Golden Amber Deep Mellow Yellow (To mute redness)

Five O'Sharp (Beard cover in Olive and

Ruddy)

CREME BROWN FACE POWDER T a n Series: Natural T a n colors Clown White
T-2Bronze Tan
SHADOW Translucent T-1 Golden Tan Nose and Scar Wax
Coco Tan (For dark
#40 Character Twenty Series for Asians, Mascara (creme) (In Black and Brown)
(Purple-Brown) skins)
42 Medium Special White Latins, and Negroids Silver Hair Gray
(Brown)
43 Dark (Warm (Clowns) 22 Golden Beige White Custom Flat Brushes (Synthetic Bristle)
Dark Brown)
44 Extra Dark 23 Fawn Forest Green #2, 3 , 5, 7 , 10, and 12
(Rich Dark
Brown) 24 Honey Green Sable Brushes (Round) # I and 2

25 Amber Lite Yellow Dry Rouge, Lipstick (Retractable), and

26 Amber Orange Powder Brushes

27 Coco Tan Sunburn Stipple Latex Foam Sponges, Nylon Stipple

28 Cinnamon Sponges, and Velour Powder Puffs

29 Blush Sable Crepe Hair in White, Blond, Light Brown,

LIPSTICK 30 Ebony Auburn, Medium Brown, Dark Brown,

Light Gray, Medium Gray, Dark Gray,

#1 Lip Gloss 9 Plum L Series: Lighter value shades and Black
3 Coral 10 Bordeaux
5 Garnet 12 Natural Brown L-1 Juvenile Female Liquid Latex (Casting)
6 Plum Pink L-2 Light Beige
7 Nattfral 14 True Red L-3 Rose Beige Spirit Gum
8 Cranberry 15 Siren Red
L-4 Medium Beige Stage Blood
L-5 Tan-Rose
Make-up Remover

Brush Cleaner

Professional Make-up Products 269

Ben Nye also furnishes student make-up Brigbt Colors 7 Olive 20 Dark Negro
kits for individuals in the following: 7F Dark Sunburn 21 Peach Bloom
6 % Bright Blue 17% Green 8 Light Sunburn
9 Indian Brown 22 Rachel
White Female Olive Male 17 Black 15 White 23 Brunette
White Male Black Medium Brown 10 Hindu Brown
Olive Female Black Dark Brown 12% Bright Yellow 18 Red 24 Sun Tan

Each kit contains three foundations plus an LIQUID MAKE-UP METALLIC SOFT SHADOW LINERS

assortment of cream rouges, highlights, shad- 25 Gold 26 Silver 1 Lt. Flesh 17 Black
ows and lining colors, silver hair gray, natural 19 Bright Green
lipcolor, nose and scar wax, make-up re- 2 Medium Flesh
mover, translucent face powder, two custom
CAKE MAKE-UP PAINTING PALETTE 3 Lt. Gray 191/4 Lt. Green
flat brushes, two pencils, dry rouge and brush,
stipple sponge, powder puff, latex sponge, Five colors; in water soluble White, Black, 4 Medium Gray 19% Dk. Green
and spirit g u m . This is the best-buy kit for Blue, Yellow, and Red
5 Dark Gray 20 Blue-Green
student make-up in its field and far better 6 Lt. Brown
than others offered by some competing the- 21 Purple
atrical manufacturers.
7 Dark Brown 23 Lavender

CAKE MAKE-UP 8 Lt. Blue 24 Pearl White
9 Med. Bright Blue 25 Gold
Natural Blush 44 Middle Age

Natural A 45 Robust Juvenile 10 Dark Blue 26 Silver

Natural B 46 Green 11 Special Blue 27 Silver Blue

Cream Blush 47 Blue 15 White 28 Rose Sallow
Cream A 48 Red
VELVET STICK
STEIN'S MAKE-UP Cream B 4 9 Lavender
Since 1883, the M . Stein Cosmetic Company Matching
has been making theatrical make-up for both Tan Blush 50 Sallow Old Age Cake Make-up in Colors

amateurs and professionals. Many items have Tan Blush No. 2 5 1 Negro Brown
been on their lists for years, and they still
Tan Blush No. 3 52 Dk. Negro SPECIAL SOFT LINERS
will supply both the old stick greasepaint,
soft tube greasepaint, colored face powders, Tan A 53 Sunburn (Do not use in eye area)

liquid make-up, stick liners, and other classic Tan B 54 Pink 12 Crimson 16 Bright Yellow
items.
2 Russet 55 Olive 13 Dk. Crimson 18 Carmine Red
56 Spanish Mulatto
7 Sun Tan 14 Vermilion 22 Red Brown

9 Red Brown (New) LINING COLORS STICK
21 Peach Bloom 7N
GREASEPAINT 1 Golden Yellow 15 White
22 Rachel 725 A
(Cardboard Tube) 2 Flesh* 16 Yellow*
23 Lady Fair 725 B
1 Pink 14 GYPSY 3 Light Gray 17 Black
2 Pale Juvenile 15 Othello-Moor 24 Brunette T.V. 1
3 Juvenile 16 Chinese 4 Medium Gray 18 Carmine* (Red)
25 Rose Brick T.V. 2
4 Juv. Flesh 14 Amer. Indian 5 Dark Gray 19 Green*
Auguste 18 Carmine (red) 26 Toffee T.V. 3
19 Negro 6 Light Brown 20 Blue-Green
5 Dpr. Flesh Clown 20 East Indian 27 Burnt Toffee T.V. 4
7 Dark Brown 21 Purple+
5L. Ivory Yellow 2 1 Vermilion 28 Clove T.V. 5
8 Light Blue 22 Light Green
6 Robust-Juvenile 22 White 29 Mesa Brown T.V. 6
23 Yellow 9 Medium Brown (New)
7 Light Sunburn 30 Toast T.V. 7 10 Dark Blue* 23 Brunette
8 Dark Sunburn 24 Brown 11 Sky Blue
9 Cream Sallow 25 Black 31 Cinnamon T.V. 8 12 Crimson* 24 Tan
10 Middle Age 26 Japanese T.V. 9 25 Red Brown+
27 Cinema Yellow 32 Othello
11 Sallow Old Man
12 Robust Old Man 28 Cinema Orange 33 Black Minstrel T.V. 10 13 Dark Crimson* 26 Lavender*
14 Vermilion*
13 Olive 34 Gray T.V. 11
13L. Red Brown
Frankenstein T.V. 12 (TV Black) *Do not use in area of eyes.

35 Light Creole C-1 Light

36 Dark Creole C-2 Very Fair METALLIC LINING STICK

37 Hawaiian C-3 Fair Gold Silver

38 Light Egyptian C-4 Medium Fair

LIQUID MAKE-UP 39 Dark Egyptian C-5 Lt. Brunette CREAM (MOIST)ROUGE

(Plastic Bottles, Water Soluble) 39% Japanese C-6 Brunette 1 Twilight 10 Youth Flame

2 Pink Natural 15 White 40 Chinese C-7 D k . Brunette 2 Light Red 11 T1 Dk. Pink

3 Flesh 16 Negro Brown 40% Mikado C-8 Golden Tan 3 Medium Red 12 T2 Rusty

5% Orange 17 Black Yellow C-9 Copper 4 Dark Red 13 Orchid

6 Tan 17% Green 41 Indian C-10 Bronze Tone 5 Youth Blush 14 Light Rose

6Y2 Blue 18 Carmine (Red) 41A Special Indian C- 11 Walnut 6 Real Red 15 Rose

7 Olive 18% Vermilion 42 East Indian C-12 Ebony 7 Royal Red 16 Brunette
19 Light Negro
7F Dark Sunburn 43 White Clown 8 Pink Tone 17 Carmine

8 Light Sunburn 20 Dark Negro 9 Brown (Male)

8% American 21 Peach Bloom SOFT GREASEPAINT

Indian 22 Rachel (Collapsible Tube) DRY ROUGE

9 Indian Brown 23 Brunette 1 Yellowish Pink 11 Mulatto Brown 5 Youth Blush (TI) 18 Evening Glow

9 % East Indian 24 Sun Tan 1% Light Pink 12 Mikado Yellow 12 Dawn (T2) 20 Tropical

41A Special Indian 27 Lt. Egyptian 2 Pink-Natural 13 Purple Sallow 14 Twilight 22 Youth Flame

10 Hindu Brown 28 Dk. Egyptian 3 Flesh 14 Gypsy Olive 16 Raspberry

11 Mulatto Brown 29 Light Creole 3% Deeper 15 White
12 Mikado Yellow 30 Dark Creole
4 Cream 16 Negro Brown BLUSH-ON STICK

12% Bright Yellow 31 Hawaiian 5 Ivory Yellow 17 Black 1 Pink Pearl 4 Bronze

13 Porple Sallow 32 Frankenstein 5% Orange 18 Carmine (Red) 2 Summer Gold 5 Peach Pearl

14 Gypsy Olive Gray 6 Tan 19 Light Negro 3 Dawn

270 Appendix A

LIPSTICK NAIL ENAMEL Glitter Colors
Burgundy Red
1 Twilight 13 Green (New) Black Green Blue Gold
Purple Yellow Green Multi-Color
2 Evening Glow 14 Blue (New) Blue Silver
3 Raspberry Red
15 Purple (New) Blue NAIL ENAMEL GLITTER
Gold
4 Dark Red Video Pink 1 Lt. Silver CREPE HAIR WOOL
Purple
5 Youth Blush Video Pink 2 Med. Multicolor 1 White 7 Light Gray
Video Pink 3 Dark
6 Real Red 2 Light Brown 8 Medium Gray

7 Royal Red Video Blush 1 3 Medium Brown 9 Dark Gray

8 Pink Tone Video Blush 2 4 Dark Brown 10 Blonde
9 Brown (Male)
Video Light Red BODY GLITTER (CREAM) 5 Auburn 10Y~Dark Blonde

10 Lip Gloss Video Medium Red (Only the Glitter Shows) 6 Black 11 Red

11 Youth Flame Video Dark Red (Do Not Use in Eye Area)

12 Witches Black 1 Gold 4 Green In addition, Stein's also furnishes toupee

1 Cherry Red LIPGLOSS 2 Silver 5 Blue tape, collodion (flexible and nonflexible), nose
(Regular) putty, black tooth wax, Derma (mortician's)
3 No Color 3 Multicolor 6 Red
2 Frosted wax (three shades), latex, spirit g u m , clown
LUMINOUS MAKE-UP white (regular and water soluble), blemi-sticks

EYESHADOW STICK Phosphorescent Fluorescent (three shades), stage blood, hair wax sticks
(three shades), temporary liquid hair color
(Swivel Case) Glows in The Glows in U.V
touch-up, eyebrow and lipliner pencils (sev-
1 Natural 7 Taupe Dark Light
eral shades), sponges, puffs, paper stomps,
2 Tan (Video) 8 Lilac MAKE-UP CREAM brushes, cold cream, liquid make-up re-
mover, spirit gum remover, and a variety of
3 Blue (Video) 9 Silver (Collapsible tube, water soluble, 1.25 oz.) student kits and masquerade, clown, and face-
4 Pale Blue painting kits.
10 Gold Minstral Black Green

5 Irr. Blue 11 Green Light Creole White Clown
6 Turquoise (Video) 12 Pearl
Glow Face Blue RCMA COLOR PROCESS MAKE-UP
The Research Council of Make-up Artists
CAKE EYESHADOW Dark Creole (RCMA) was formed as a membership or-

(With Applicator, Wet or Dry) LIP LIXING PENCIL ganization in autumn 1955 by Vincent J-R
Kehoe with a group of leading New York
1 Aqua 5 Blue (7 inch)
6 Jade make-up artists. In 1962, it was incorporated
2 Turquoise Tawny (Maroon) Red as a membership corporation, and in 1965 it
changed to a sales corporation under the laws
3 Lavender 7 Brown
of the State of New York. Since its inception
4 Green 8 White EYEBROW PENCIL in the sales field, it has serviced only the

CAKE EYELINER (7 inch) professional industry with products designed
Auburn
(With Brush) Black Silver Gray especially for their use. Research and Supply
6 Lt. Blue Blue offices were set up in Lowell, Massachusetts
1 Black Brown
in 1966, and the company was moved in
2 Brown-Black 7 White 1985 to Somis, California, to better serve the
3 Brown 8 Hi-Lite
4 Smoke 9 Green MASCARA (CAKE) industry while new laboratories were built
5 Med. Blue Black for advanced research in plastic and latex ap-
Blue-Green Brown pliances, modern adhesives, and special prod-
White
ucts for make-up artists. Although RCMA
FLUID EYELINER Professional Make-up cannot be purchased in
any drug or department stores, it is available
1 Black 6 Green FACEPOWDERS through authorized distributors in major pro-

2 Brown-Black 7 White (Plastic Jar) duction areas as well as sales outlets in many
part of the United States. (See Appendix B.)
3 Brown 8 Hi-Lite 1A Neutral 13 Othello Dk.

4 Smokey Gray 9 Navy (Colorless) Brown

5 Ultra-Blue 10 Plum 1 White Clown 14 Chinese

PRESSED PEARLITES 2 Light Pink 14'/2 Japanese
4 Flesh
(Pressed Shadows in High Shimmering 15% East Indian

Colors for Lids, Face, and Body) 5 Brunette 24 Light Brown

1 Copper 6 Temptation 5 % Dark Brunette 24!h Red Brown Color Process Foundations
These are some shades matched to some other
2 Silver (Blue-White) 7% Suntan 25 Black manufacturer's discontinued numbers that are
still being requested by certain make-up per-
3 Grape 7 Blue 8 Tan 26 Gray sonnel:
9 Sallow Old Age Frankenstein
4 Raspberry (Red- 8 Dark Gold
9 Pale Gold 11 Healthy Old 27 Blue
Blue)
Age 28 Green
5 Champagne 10 Bronze
12 Olive Ivory K-1 K-3 (655-K)
Tantone K-2 RJ-2 (KF-7, Pan-
PEARLITES POWDER RUBBER MASK GREASEPAINT
Cake march)
(Loose Powder Shadows C-1 Light Skin C-7 Medium Skin

in High Shimmering Colors C-4 Fair Skin C- 11 Dark Skin There are also some four-part containers with
special colors:
for Lids, Face, and Body)
6 Temotation
1 Plum COLOR CROWN TEMPORARY HAIR SPRAY

2 Silver (Blue-White) Fluorescent Colors Bruise Kit Violet, Black, Raspberry,
3 Amethyst Bruise Yellow
7 Sapphire (Blue) Ripe Red Shining Silver
Burn Kit Red, Raspberry, Black
(Purple) 8 Autumn Leaves Yummy Yellow Glowing Green Clou~nKit Red, Yellow, Blue, Black
4 Raspberry Old Age Spots Kit Four shades to
(Gold) Blazing Blue Gorgeous Grape
9 Sea Green simulate old age discolorations and
>.Turquoise Jet Black Wild White
spots.
10 Bronze Passion Pink Obvious Orchid

11 Pale Gold Outrageous Orange Glimmering Gold

Professional Make-up Products 27 1

Lipcolors LS-6 Rotten Apple DRY BLUSHES Brown Pearl
Natural Rose
These lipcolors contain no staining dyes Ls-7 Light Pink Pearl Plum Gold Brandy
and no perfumes. LS-8 Orange Pearl Blush Pink
Salmon Pearl Red
NUMBER APPROXIMATE LS-9 Dusty Rose Mocha Flame
Dusty Coral Candy Pink
CP- 1 COLOR Ls-10 Peached Brown Pink Pearl Garnet
CP-3 Browned Peach Peach Pearl Claret
Coral Pink LS-11 Rust Bronze Pearl
CP-4 Browned Pink LS-12 Plum Rust Pearl Lilac
CP-5 Bright Pink LS-13 Purple Brown
Orange Red Bright Red Raspberry Pearl
CP-6 Blue Red LS-14 Dark Blue-Pink
Blue Pink Special Rust # 3 PEARLIZED A N D GOLD SHADES
CP-7 Light Pink Ls-15
CP-8 Orange Special Coral Pearl Black Gold Huckleberry
CP-9 LS-16 Light Special Coral
LS-17 Pearl Charcoal Gold Brown

LS-18 Pearl Smoke Gold Burgundy
LS- 19
CP-10 Grape LS-20 Pearl Brown Gold Emerald
Brown Red LS-4 Pearl
CP- 11 Special Red LS-7 Pearl Pearl Royal Brown Pearl Wine
CP-12 Mix CP-1 and 3 LS-13 Gold
CP-13 Pearl Light Brown Pearl Mocha
Rose LS-16 Gold Pearl Cinnamon Pearl Plum
CP- 14 Dark Red-Brown
CP-15 LS-2 Silver Pearl Rust Pearl Pink
Pearl LS-3 Silver
CP- 1 LS-6 Silver Pearl Cafe Pearl Rose
c p - 3 Pearl LS- 18 Silver
Pearl Yellow Pearl Apricot
LS-639
LS-739 Pearl Cream Pearl Salmon

c p - 4 Pearl Pearl Olive Pearl Violet
c p - 5 Pearl
Pearl Green Pearl Lilac
Cp-6 Pearl
Pearl Turquoise Pearl Blue
Pearl Teal Pearl Light Blue
cp-7 Pearl
Cp-8 Pearl Pearl Pure White Pearl Slate Blue

c p - 9 Pearl Lipgloss These also come in kits of 12 colors of EC
#1 or EC #3 and kits of 6 in EC #2 or Dry
cp-10 Pearl CP- 1 CP- 10 CP- 12
Ls- 12 Blush, made to order for make-up artists in
c p - 1 1 Pearl CP-4 CP- 11 their choice of colors in a flat plastic box.
cp-12 Pearl
c p - 1 3 Pearl Gena Special Red

cp-15 Pearl No-Color Special Materials
RCMA has the most extensive and varied
CP-6 Copper Clear selection of special materials, and although
cp-12 Silver RCMA Lip Balm (Semigloss) mentioned throughout the text, this is acom-
plete list of the items that are available in a
c p - 1 Gold Within these shades and colors, one can number of sizes. Where designated, PMA is
find lip make-up for every period and fashion the abbreviation for a special line of Profes-
CP-4 Gold time. New shades are added from time to sional Make-up Artist materials.
Cp-6 Gold
time according to fashion trends. PMA Plastic Wax Material
CP-7 Gold Light
Women (KW-3 shade)
CP-11 Gold Men (KT-3 shade)
CP-12 Gold Negro (KN-5 shade)
Violet No-Color
CP-14 Gold Eyecolors

Gena Special Red

Gena Special Red-Gold # 1 WATER APPLIED
Gena Special Red-Silver

Gena Special Red-Copper Black Silver Green Also, there is Dental W a x in Red Gum shade
DP Special Olive and Black.
Pink Frosting Midnite Brown
Aqua Latex
Special Pink #1 Gray Brown (Dark) Turquoise Pure Gum
Special Pink #2 Royal Brown Silver Turquoise Casting Latex
Light Brown
Special Pink #3 Silver Lilac Casting Filler
Pink Cocoa Charcoal Silver Foamed Latex (four-part formula)
Light Gray
Pink Gloss Midnite Blue Gold Foamed Latex (three-part formula)
Gena Pink Cream
Light Blue
Gena Coral Silver Blue White Mold Release
Gena Pearl Green Yellow PMA Silicon Mold Release
Tomato Soup MR-8 Urethane Mold Release
Light Green Plum
Fantasy Red PJ-1 Mold Release
#2 DRY APPLIED
Candy Apple FL- 1 Mold Release (four-part foamed latex)

Pure Pearl
Bronze

Copper Royal Brown Turquoise Old Age Stipple
Silver
Gold Sparkle Light Brown Silver Turquoise KW-2 (Light) KM-2 (Deep)
Royal Blue Silver Lilac
Ls-1 Fuchsia Silver Blue Silver KW-4 (Medium) KN-5 (Dark

Ls-2 Garnet Wedgewood Cream Brown)
Silver Green White
Ls-3 Cranberry Gold Green Yellow Adhesives
L s 4 Orange Brown Prosthetic Adhesive A (Solvent based)
LS-5 Peach Pearl Prosthetic Adhesive B (Water based)

272 Appendix A P M A Blood Series or slush latex or latices and urethanes during
Type A (Water soluble) foaming operations.
Adhesives continued Type B (Plastic base)
Type C (Cream variety in tube) Make-up Cases
Special Adhesive # 1 Type D (Dried blood effect) RCMA furnishes three styles of make-up cases
Special Adhesive #2 (also see Appendix E). The accordion style is
Eyelash Adhesive RCMA also makes Beard Setting Spray, Ar- lightweight, compact, and easy to transport
PMA Matte Lace Adhesive tificial Tears and Perspiration, R C M A Klenzer, but holds a considerable amount of make-up
Matte Adhesive ADKLEN, Alginate Separator, and two-part materials. Also there are two solid walnut
Matte Adhesive #16 Flexible Urethnne Foam and Solid Urethane drawer styles that can carry more make-up
Matte Plasticized Adhesive materials. than the accordion style.

Sealers Appliance Foundation Series RCMA also sells a variety of raw materials
Matte Plastic Sealer RCMA originally made a PB (Prosthetic Base) for molding and casting, dental acrylics,
series which was similar to the old Rubber chemicals, and so forth under Make-up Lab
illolding Materials Mask Greasepaint of Max Factor and others. Specialties Company. They also will furnish
PMA Press Molding Material However, this has been replaced with an ad- empties of all their containers for make-up
PMA Molding Material (Light, Deep, Dark vanced type of material which has higher cov- artists who wish to mix special colors or add
shades, and Clear) erage, no oil separation, and is extremely to their kits.
opaque while spreading very easily with a
Thinners brush or sponge. (See page 188 for full dis- There are a number of other firms that
Prosthetic Adhesive A Thinner cussion of this series.) supply theatrical make-up with similar prod-
Foundation Thinner ucts to some of those mentioned herein.
AF Foundation Thinner RCMA also furnishes Universal Colors in However, those included are generally rep-
1-ounce squeeze bottles that dispense just resentative of the major items employed by
Scar Materials one drop at a time to tint any type of casting professional make-up artists or the procedures
Scar Material and make-ups employed in this book.
Scar or Blister Making Material

Plaitic Cap Material
This comes in clear and pale tinted shades.

Appendix B

SUPPLIERS A N D PROFESSIONAL ADDRESSES

It is not possible to list every supplier of Davis Dental Supply Co., 13050 Saticoy St., Naimie's Beauty Supply, 12801 Victory
materials that is or can be employed for pro- N . Hollywood, CA 91605 Blvd., North Hollywood, CA 91606
fessional make-up. As well, new sources are
always being found as technology advances Pearson Dental Supply Co., 13847 Del Sur RCMA (Research Council of Make-up Art-
and old sources either discontinue items or St., San Fernando, CA 91340 ists, Inc.), P.O. Box 850, Somis, CA
businesses. However, listed here are a num- 93066
ber of representative manufacturers and sup- HAIR A N D HAIR SUPPLIES
pliers that will be useful as a current source Leon Buchheit, Inc., 217 Greenwich Ave., Stein Cosmetics Co., 430 Broome St., New
of materials. York, N Y 10013
Goshen, N Y 10924 Fine women's
BOOKS hairpieces in real and acrylic hair. In United Kingdom: Screen Face Dist. Ltd.,
Foam Latex Ovens, by Gary Boham, Alchemy Frends Beauty Supply, 5202 Laurel Canyon c/o Mitastyle, 24 Powis Terrace, West-
Blvd., N . Hollywood, CA 91607 bourne Park Rd., London, W11 1 JJ
Press, 4100A Madison St. NE, Minneapo- Wool crepe and yak hair and hairdressing
lis, M N 55421 supplies. In Canada: Mavis Theatrical Supplies, 46
Seigfried Geike (Ziggy), 14318 Victory Princess St. East, Waterloo, Ontario, N2J
CHEMICALS Blvd., Van Nuyes, CA 91401 Real and 2H7
prepared hair goods of all kinds.
General Ideal Wig Co., 38 Pearl St., New York, N Y In Australia: Josy Knowland, 46 Young St.,
City Chemical Corp., 132 West 22nd St., 10004 Rental and sales of theatrical- Annandale, NSW 2038
grade wigs.
New York, N Y 10001 Polly Products Co., 1 Plummers Corner, In Far East: Modern Film & TV Equipment
Kem Chemical Co., 545 S. Fulton Ave., Mt. Whitinsville, MA 01588 Styrofoam Co., 23 Chatham Rd. S. Ocean View Ct.,
heads. Tsimshatsui, Kowloon, Hong Kong
Vernon, N Y 10550 Ira Senz Co., 13 East 47th St., New York,
Tri-Ess Sciences Inc., 1020 West Chestnut N Y 10017 Wigs, hairpieces, beards, MAKE-UP EFFECTS STUDIOS
and other lace pieces. (Prostheses, Special Make-up Effects)
St., Burbank, CA 91506 Stein Cosmetics Co., 430 Broome St., New Rick Baker Studio, 4260 Acodia Ave., To-
York, N Y 10013 Wool crepe hair of luca Lake, CA 91602
Special excellent quality. The Burman Studios, 4706 West Magnolia
Carbopols Gocdrich Co., 3135 Euclid Ave., Josephine Turner, 12642 Kling St., N . Hol- Blvd., Burbank, CA 91505
lywood, CA 91607 Real hair lace-front Dick Smith Company, 5313 Siesta Court,
Cleveland, O H 441 1 5 wigs and falls. Sarasota, FL 34242
Methocels Dow Chemical Co., Midland, MI Terry Smith Studio, 330 South Myers St.,
LIGHTING MATERIAL Burbank, CA 91506
48 192 (Special Sunlight-Rated Bulbs) Warner Bros. Studio, Make-up Department,
Plasticizers Monsanto Chemical Co., St. Luxor Lighting Products, 350 Fifth Ave., 4000 Warner Blvd., Burbank, CA 91505
New York. N Y 10001 Werner Keppler Studio, 23740 Albers St.,
Louis, MO 63166 Woodland Hills, CA 91364
Surfactants BASF Wyandotte Corp., Wyan- PROFESSIONAL A N D THEATRICAL Stan Winston Studio, 4546 Wide Oak Ave.,
MAKE-UP SUPPLIES Encino, CA 91316
dotte, MI 48192
Rohm and Haas Co., Philadelphia, PA Alcone Co., 5-49 49th Ave., Long Island MEDICAL SUPPLIES
19105 City, N Y 1 1 101 (Plaster Bandages, Tubing, Scissors)
Separators (Silicons) Dow Corning Corp., Lomedco, 5 5 Church St., Lowell, MA 01852
Midland, MI 48640 Ben Nye Inc., 133 North Rose St., Burbank,
CA 91505 Also see local telephone book for other
COSMETIC DENTISTS suppliers.
There are many excellent cosmetic dentists Bulim Corp., Y.S. Lim, Samho Officetel,
who are aware of the requirements for cam- Rm. 912, 327-5 Kunja-Dong, Sungdong- PLASTICS
era close-ups. Michael L. Potts, D.D.S., 445 Gu, Seoul, Korea (Casting Plastics, RTV, Silicones,
Rosewood Ave., Camarillo, CA 93010, Jean
Marie Doherty, D.M.D., D.Sc., and D. Law- Cinema Secrets, Inc., 4400 Riverside Drive, Acrylics, Urethanes)
rence Fadjo, D.D.S., who contributed to this Burbank, CA 91505 BJB Enterprises Inc., Box 2136, Huntington
book, are among these.
Custom Color Cosmetics, Box 56, Pacific Beach, CA 92647 Various solid and
DENTAL SUPPLIES Palisades, CA 90272 foamed urethanes.
The Yellow Pages of the telephone book will Devcon Corp., Endicott St., Danvers, MA
provide local sources for both medical and Frends Beauty Supply, 5270 Laurel Canyon 01923 Devcon W R , metallic varieties,
dental^ supplies. However, dental and pros- Blvd., N . Hollywood, CA 91607 Flexane 60, and others.
thetic grades of alginates can be found at the Dow Corning Engineering Products Divi-
following: Joyce Daniel Make-up, 97 Jamestown Pk., sion, Midland, MI 48640 Silicone elas-
Nashville, T N 37205

274 Appendix B

tomers, RTV rubbers. Sculpture Associates, 40 East 19th St., New SCHOOLS A N D SEMINARS
General Electric Co. Silicone Products Divi- York, N Y 10003 IN MAKE-UP

sion, Midland, MI 48640 Silicone ad- Sculpture House, 38 East 30th St., New Years ago, when the major film studios in
hesives and sealants, RTV silicone rubber. York, N Y 10016
Hastings Corp., 1704 Colorado Ave., Santa California were thriving and live television
Monica, CA 90404 Various urethanes. Westwood Ceramic Supply Co., 14400 was centered in the New York networks,
Industrial Arts Supply Co., 5724 West 6th Lomitas Ave., City of Industry, CA 91744 most had a form of apprentice program to
St., Minneapolis, MN 55416 IASCO
products: Plastics, molding supplies, and SPECIAL ITEMS bring eligible people into the unions. How-
so on. ever, this entrance to the field is now very
Perma-Flex Mold Co., 1919 East Livingston Artificial Eyes limited, and attending a make-up school or
Ave., Columbus, O H 43209 Blak Tufy Jonas Brothers, Inc., 1037 Broadway, Den- studying with individual make-up artists is
and Stretchy, Gra-Tufy, U N H , Regular
CMC, P-60s. ver, CO 80223 more prevalent today. College-level make-up
Smooth-On Corp., 1000 Valley Rd., Gil- Drs. Martin L. Greenspaon and Richard
lette, NY 07933 PMC-724, Sonite Re- classes are mostly for student performers who
lease Agents. L. Silver, Professional Vision Associates,
14607 Ventura Blvd. Sherman Oaks, CA wish to learn the basics for self-use and for
RUBBER 91403 Associated with them as their degree credit. There are no degrees in profes-
(Latex Products Including Slush, Foamed, Eastern representative is Dr. Mitchell sional make-up artistry. Hairdressinglbeauty
schools do not teach studio make-up artistry
and Pure Gum) Cassel, 1400 Broadway, NYC, NY 10018.
Burman Foam Latex (Sandra Burman), but prepare students to take a state license in
Mechanical Materials
14141 Covello St., Suite 6A, Van Nuys, Edmund Scientific, 101 East Gloucester hairdressing and/or skin care to work in a
CA 91405 beauty salon-not a film or television studio.
General Latex Co., 11266 Jersey Blvd., Cu- Pike, Barrington, NJ 08007
camonga, CA 91730 Hobby Lobby International, Rt. 3, Franklin Studying with an established union member
General Latex Co., High Street, Billerica, provides a better insight into the profes-
MA 01853 Pike Circle, Brentwood, T N 37027
GM Foam Co., 14956 Delano St., Van Nuys, Jerryco, Inc., 601 Linden Place, Evanston, IL sional field, but choose one who has teaching
CA 91411
R & D Latex Co., 5901 Telegraph Hill Rd., 60202 ability and has never failed a union exam!
Commerce, CA 90040 The Joint Works, P.O. Box 9280, Marina Small class groups are best (eight to ten)
R.T. Vanderbilt Co. (latex chemicals), 30
Winfield St., Norwalk, CT 06855 Del Rey, CA 90295 rather than unwieldy large ones, and ade-
Small Parts, Inc., 6901 NE Third Ave., quate facilities for all phases of the sessions
SILICAS A N D CLAYS are necessary. As well, take care before en-
Attapulgus Clays, Englehard Minerals, Menlo Miami, FL 33138
Techni-Tool, 5 Apollo Road, Plymouth rolling that one is guaranteed hands-on dem-
Park, NJ 08817 AT-40, Pharmasorb. onstrations and practical work rather than a
Cabot Corp., Tuscola, IL 61953 Cab-O- Meeting, PA 19462 steady stream of prepared videotapes of nor-
mal make-up procedures. Tapes should al-
Sil grades. SURGEONS
Degussa, Rt. 46, Teterboro, NJ 07608 (AESTHETIC A N D COSMETIC) ways supplement, but not supplant, teaching
Grace Chemical Co., Lexington, MA 02173 Although there are many excellent aesthetic methods. Of course, videotapes of important
Wyoming Bentonite, National Lead Co., and cosmetic surgeons throughout the
United States, we have only selected three, special character make-up effects from films
111 Broadway, New York, NY 10006 who are eminently representative of their art
as East and West coast examples. are valuable for illustration of specific make-
SCULPTORS' SUPPLIES ups as an adjunctive tool.
Chavant, Inc., 42 West St., Redbank, NJ John and James Williams, M.D., FACS,
2080 Century Park East, Los Angeles, CA Finally, students should not expect mira-
07701 Plastalene, many varieties. 90067
Dick Ells, 908 Venice Blvd., Los Angeles, cles and should devote a great amount of
Francis G. Wolfort, M.D., PC, 170 Com- time practicing all make-up principles be-
CA 90015 General supplier of all types monwealth Avenue, Boston, MA 02216
of materials. fore asking to take a union examination.
Knickerbocker Plaster Co., 588 Myrtle Ave., UNIONS AND ORGANIZATIONS
Brooklyn, N Y 11205 Plaster and UI- Aestheticians International Association, Inc., Know your profession first and thoroughly
tracal. prepare for it. For information on union ex-
4818 Cole Avenue, Dallas, T X 75205
IATSE, Make-up Artists and Hairstylists aminations, see Appendix F.
Marvin Westmore Academy of Cosmetic
Local 706, 11518 Chandler Blvd., North
Hollywood, CA 91601 Arts, 12552 Cumpston Ave., North Holly-

Local 798, 31 West 21st St., New York, wood, CA 91607 specializes in training for
four distinct fields of make-up: Salon, Still
NY 10010
Photography, Medical, and Motion Picture
Studio.

Appendix C

LIGHTING AND FILTERS

COLOR F l L M AND TELEVISION CYAN RED also employed to cut down the brightness of
Normally, professional-type films are bal- exterior light as well.
anced for studios that use lighting that is (Absorbs Red) (Absorbs Blue
rated at 3200" Kelvin, just as sets in tele- cc 05C and Green) The basic filters were:
vision use the same quality of lighting. For cc 1 o c
cc 2 0 c cc O5R 8 (K-2) Yellow: For proper sky, cloud, and
outdoor daylight use, a #85 orangy filter is cc 30C 8N5 foliage rendering.
placed in front of the lens to balance the light cc 40C cc 10R 11 (X-1)
cc 50C cc 20R 15 (G) Yellow: No. 8 yellow plus 0 . 5
to its proper quality. cc 30R 23A
cc 40R 25 (A) neutral density.
For minor changes in quality and color, cc 5OR
29 (F) Yellowish Green: For making
color-rompenjating (cc) filters can be utilized. Other basic filters that are usually for black- outdoor portraits, darkening

These special filters may be used to introduce and-white photography affect color directly skies, and lightening foliage.
overall in the scene as to their shade; that is,
slight intentional changes or corrections in a red filter placed over the lens of a camera Deep Yellow: For overcorrection
the overall coior balance. The numbers as- will turn everything on the screen during in landscape photography.
signed are an indication of the depth of the
viewing red. This effect is sometimes used Light Red: For contrast effects.
introduced color, with the lowest numbers for filming naval productions to simulate the
being the lightest shades. They are furnished Red: For contrast effects on both
red night lighting sometimes employed to indoor and outdoor scenes. Cuts
in six color series-Yellow, Cyan, Magenta, accustom the eyes of naval personnel for seeing distance haze and is often used

Green, Red, and Blue-to cover both the at night. In the main, as the scene is entirely in conjunction with underex-
subtractive and the additive systems. posure to effect night scenes in
daytime on panchromatic ma-
YELLOW MAGENTA red, the audience is not aware of any change
terials.
(Absorbs Blue) (Absorbs Green) made in the face by the color filter.
Deep Red: For strong contrast ef-
cc 05Y cc 05M fects.

cc 10Y cc 10M BLACK-AND-WHITE FlLM Also see color definitions and charts in
cc 20Y cc 20M Chapter 3.
cc 30Y cc 30M A number of colored filters were used in black-
cc 40M and-white filming (little used in television)
cc 40Y for creating special visual effects. For exam-
cc 50M ple, a yellow filter was sometimes used to
cc 50Y

GREEN BLUE deepen blue sky and make puffy white clouds

(Absorbs Red (Absorbs Red stand out more strongly for scenic shots. A

and Blue) and Green) red filter placed over the lens would darken

cc 05G cc O5B the blue sky considerably more to enable

cc 10G cc 10B shooting in the daytime but having the sky

cc 20G cc 2OB appear dark as it would at night. A green
filter would deepen skin tone (especially on
cc 30G 1cc 30B VL B
cc 4 0 G ; ;1 timen), darken the skies somewhat, and lighten
cc 50G cc 40B the foliage. Gray neutral density filters were
cc 50B
Yellow D
Yellowish Green a* D
Light Red VD
Tricolor Red VD

Deep Red VD W

Tricolor Blue 58 ML V D W VD

Tricolor Green

Key: VL, very light MD, much darker W, white
SL,vslightly lighter SD, slightly darker VD, very dark B, black
L, lighter D , darker
ML, much lighter

Appendix D

RESEARCH FILE SYSTEM Animal People and Other Horror Effects American Indians
Mexico
To do character make-up, every professional Stone Age People South American Indians
make-up artist should set up a research pic- Cuts, Bruises, Tattoos, and Battle Make-ups Central and South Americans
ture file for reference purposes. One eficient Masks, Dolls, and Puppets Negroes
way is to file cutout pictures, photos, post- Black Africa
cards, and so forth in expanding files with Plants and Insects Tunis, Morocco, Algeria
multiple pockets, labeling them on the tabs Clowns
for ease in category and type. Five such 21- Egypt
pocket files should suffice for general use, Plays, Classics, and Literature Historical England
while special subjects or interests can be added Ballet United Kingdom-Modern
in other such files, breaking them down to Opera France, Italy, Greece
individual characters or productions. Spain and Portugal
Shakespeare: Histories, Comedies, and Tra- Germany, Austria, Hungary
FILE 1 gedies Yugoslavia, Czechoslavakia, Bulgaria, Ru-
Musicians and Composers
Authors, Poets, and Writers Renaissance mania
Artists Iceland, Finland, Sweden, Norway, Den-
Scientists, Doctors, Nurses, and Inventors Other Production Pictures
Philosophers, Saints, Gods, and Other Re- Oldtime Theatrical and Film Personalities mark
Modern Actors and Actresses Poland
ligious Personalities USSR
Fantasy, Story Book, and Such Characters F I L E 3 U . S . HISTORY AND POLITICS Belgium, Netherlands, Switzerland
Comic Book Characters Discoverers and Explorers
Space and Extraterrestrial Types Vice-presidents, Cabinets, Chief Justices FILE j
Sports Personalities Mongolian Make-ups
Convicts and Criminals Washington and Lincoln
Women to Men and Men to Women Presidents: Adams, Jefferson, Monroe, Mad- Japan
Age in Men Korea
Age in Women ison, J.Q. Adams, Jackson, Van Buren, Ancient China
Youth to Old Age Modern China
Multiple Make-ups Harrison, Tyler, Polk, Taylor, Fillmore, Tibet, Nepal, Afghanistan
Wigs, Beards, Mustaches, and Sideburns Pierce, Buchanan, Johnson, Grant, Hayes, Vietnam, Thailand, Indonesia, Melanesia, and
Women’s Wigs Garfield, Arthur, Cleveland, Harrison,
Bald Heads, Partial Wigs, and Foreheads McKinley, T. Roosevelt, Taft, Wilson, so on
Double Chins and Necks Harding, Coolidge, Hoover, F. Roosevelt, Story Book Arabia, Ancient Persia, and so on
Ears and Eyes Saudi Arabia, Iran, Iraq, Syria, Lebanon, and
Noses and Nasolabial Folds Truman, Eisenhower, Kennedy, Johnson,
Other Arab States
FILE 2 Nixon, Ford, Carter, Reagan Israel and Turkey
Cadavers, Witches, Skulls, Magicians, Dev- Political Personalities: 1600- 1750, 1750- India
Australia and New Zealand
ils, Dracula, and so on 1810, 1810-1880, 1880-1920, 1920 to Philippines, Hawaii, and Other Islands
Mummies, Genies, Phantoms Personal Production Photos
Frankenstein Monsters date Miscellaneous
Dr. Jekyll and Mr. Hyde and Such Changes Military Men: 1600-1700, 1700-1800,

1800-1900, 1900 to date

British, French, and other Military Person-
alities during Colonial and Revolutionary

Wars.

Foreign Rulers of the Period

Canada F I L E 4 NATIONALS
Eskimos

Appendix E

PROFESSIONAL MAKE-UP KITS

MAKE-UP CASES Two types of make-up kits of materials and Thinner, PMA Molding Material
Two basic styles of cases are generally utilized tools are listed here. The first is a basic RCMA (Light), Color Process Blood (Types A
for make-up kits by professionals. While many kit recommended by Vincent J-R Kehoe for
East Coast artists prefer the accordion-style his Professional Make-up Seminars. It con- and C), Prosthetic Adhesive (A and B),
tains all the primary materials and tools and
case, the West Coast people. generally carry allows room for individual selection of ad- Scar and Blister Making Material
ditional items for expansion. The items will
the wooden, drawered variety. fit in either of the case styles, with the mul- Appliance Foundations: KW-2, KM-2, KN-
RCMA stocks both of these cases in the tiple color ones such as foundations, lipcolors,
pencils, shadings and countershadings, 5.
most popular and versatile sizes. The accor- cheekcolors, beardcover, lipgloss, and eye- THE FULL-CONCEPT KIT
colors, as well as brushes and tools, all boxed
dion-style case is black fibre with chromed as units for ease in both storage and use. This list is based on a full kit for both
fixtures and is reinforced'with steel frames straight and character make-up use to be car-
THE BASIC KIT ried along with the Hair Kit described in
(Figures E. 1 and E.2). It is large enough to C P Foundations: KW-13, KW-3, KW-14, Chapter 16. It expands the basic kit previ-
ously described with additional materials and
hold a full professional assortment of make- KW-4, KW-37, KW-38, KM-2, KM- tools and is a full working kit for a profes-
up materials. The wooden case with drawers 3, KM-37, KM-38, KT-3, KN-1, KN- sional make-up artist.
is often hampered in capacity in the style with 3, KN-5, Superwhite, and Gena Beige. C P Foundations: Shinto I to IV, Ivory, F-
Countershading: CS- 1, CS-2, and Beard-
many small drawers (and often contains more cover BC-3, Hair Whitener H W - 4 2, F-3, F-4, KW-23, KW-24,
wood than space!). However, RCMA stocks Shading: S-1, S-13, S-14, S-4, S-6, S-8 KW4M2, KW4M3, KT-1, KT-2, KT-
Cheekcolor: Genacolor Rose and Genacolor 4, K-3, KW-36, KN-2
two kinds of these in solid walnut that have Pink Shading: S-2, S-3, S-7, S-9, S- 10
Eyecolor K i t # I : 12 water-applied eyecolors Cheekcolor: Flame, Dark, Pink, Lilac, Gc
only three wide, full-depth drawers plus a in a plastic box Plum
generous hinged-top space on top; One has Pencil K i t # I : 10 haircolor pencils in a plas- Special Shades: 1667, 6205, Green
tic box
an overall size of 16 inches long, 12'/4 inches Brush K i t #2: Two each: l R , 3F, 4F, 7F, Clown Kit: Red, Yellow, Blue, Black
high, and 8 % inches deep. It has chromed IOR, Eyebrow, and Eyelash Bruise Kit: Raspberry, Violet, Yellow,
fixtures and a comfortable handle for carry- One each: 12F, Wig-cleaning brush Black and the Old Age Spot Kit
Lipcolors: CP-1, CP-3, CP-4, CP-5, CP-6, Eyecolor K i t #?: 24 different shades in two
ing. This type of case has a lock (the accor- CP-14, LS-5, IS-12, DP, LS-16G, Gold
dion-style fibre case does not) in addition to plastic boxes
Sparkle, Copper Pencils: Dark Silver Gray, Navy
three strong clasps. Its capacity is larger than Lipgloss: No-Color Gloss Brush: Wig-cleaning brush
Lipliner Pencils: Maroon, Dark Red, and Lipcolors: CP-7, CP-9, CP-10, CP-11, CP-
that of the accordion case, but its carrying
weight is more due to its solid construction. Lake Red 12, LS-17, LS-18, LS-19, LS-20, CP-
Pencil Sharpener 4G, CP-11G, CP-12G
The second wooden case is a combination Mascara: Black and Brown Tools: Nail file, aluminum tail comb, hair
Sponges a n d Puffs: 5 packs of polyurethane, scissors, curved scissors
design of the old on-set kit and the regular Plastic W a x Molding Material: Clear, KW-
wooden one in use for many years (Figures 1 stipple, and 2 puffs 3, KT-3, KN-5, Violet
E.3 and E.4). However, this new concept case Powder: No-Color Transparent and PB Pow-
made exclusively for RCMA combines all the P M A Lace Adhesive, Prosthetic Adhesive
ders Thinner, Blood Type B , Acetone
good features of both and eliminates the main Tools: Stainless steel spatula, dental college
problems of weight and loss of space. Essen- Appliance Foundations: Kits #1, #2, and
tially, by removing much of the metal hard- pliers, and tweezers others, or with single containers of these
Special Material: Plastic Wax Molding Ma- shades.
ware, which is unnecessary, the case weighs
empty only 8 pounds and fully loaded, with terial, (Light) Scar Material, Matte Ad- Other Items: Liquifresh, RCMA Lip Balm;
tissues attached, only 2 1 pounds, an easy hesive, Matte Plasticized Adhesive, Visine Eyedrops; Small Package of As-
Eyelash Adhesive, Matte Plastic Sealer, pirins; One Plastic Container Each of
weight for anyone to carry. Tears and Perspiration, Foundation Q-Tips, Hair Clips, Bobby Pins, Straight
A spring clip on the side holds a box of Pins, and Rubber Bands; and a Single-
edge Razor Blade
tissues for easy use, and all the drawers are
metal lined for ease in cleaning. The top sec- Dental W a x : Package each of Black and Red
False Lashes: One Each Black and Brown in
tion does lock, and all the drawers are on
spring catches so they will not fall out when Plastic Box

opened. One can open the drawers without
opening the top or cover of the case. This

case is not only elegant but also practical for

professional make-up artists and is especially
designed to fit the newest professional con-

tainers without waste of space.

278 Appendix E

KIT TRICKS FIGUREE. 1 Acrordian case closed. FIGUREE. 3 RCMA Professional Care.
1. Replace the regular low-density polyeth- FIGUREE.4 The RCMA Casefilled.

ylene stock bottles with linear high-den-
sity types. Especially suitable for lotions,
acetone, alcohols, and so on.
2 . Place about a dozen mascara remover pads
in a regular 1-ounce foundation container
for ease in carrying.
3. Remove sponges from glassine shipping
envelopes, and place in plastic sandwich
bags.
4. Use shipping cardboard boxes for holding
foundations, lipcolors, and small-sized
countershading, shading, cheekcolor, etc.,
containers.
5 . Label tops of bottles for easy selection.

Although the full-concept kit will serve
for most general applications and work, there
are times when the kit must be adjusted for
special occasions or specific assignments. For
example, those make-up artists who are only
doing commercial straight make-up might
wish to remove some of the special materials
and replace them with extra lipcolors and
eyecolors. In addition, when it is known that
only one person is to be made up (as in the
case of politicians who hire a make-up artist
to improve their appearance for camera or
public appearances), one might transfer the
known use materials to a small attach6 case
where a make-up cape, towel, and so forth

may also be carried rather than carrying the
normal hair kit.

There are other available types and varieties
of make-up cases. However, these two are
well adapted for weight, capacity, and long-
term suitability.

FIGUREE . 2 Accordion case filled.

Appendix F

MAKE-UP ARTIST EXAMINATIONS

Qualification in a union representing make- or have performed all the work entailed in its On the day of the examination, applicants
up artists consists of being able to prove a procedures. It is enormously unfair for any must present themselves ready to work, with
certain number of days of employment in the applicant to take an examination before Ex- two models, one male and one female, fur-
field as well as to take an examination in amining Committee members who have not nished at their expense and selection. A tip
practical make-up artistry before a union for applicants: A very attractive female with
committee to demonstrate the applicant’s done and possibly could not do every phase few, if any, facial problems and a male with
ability. As the main production areas are New of the examination during a work day them- some character lines in the face, no facial hair,
York City and Hollywood, both represented selves. and a normal haircut are best. It is also best
by different Locals of two different unions, to select Caucasian models as more changes
IATSE and NABET, and all with different The Examining Committee should consist can be made on their faces for the examination
examination procedures, one must first select of three make-up artist members in good procedures. Applicants must have a full make-
the work area in which he or she wishes to standing (who are not union officers, paid, up kit and the hair goods necessary for the
gain employment and the opportunities af- or craft representatives), with two alternates examination as well as any appliances that
forded by each. Intelligent business letters to selected to fill in when a regular member may be required. They must have paid all
each should be the first method of approach, cannot attend an examination for one reason the fees necessary to the Local and otherwise
asking for an application and/or an appoint- or another. This Examining Committee need be in good standing with the union’s re-
ment with the business manager for an in- not be rotated on a fixed periodic limit if it quirements. It is the strict responsibility of
terview if feasible. operates properly, although the membership the union to provide a proper space, lighting,
of the Local should have the privilege of ask- chair, and mirror for each applicant. It is
SCREENING COMMITTEES ing for a new committee to be formed if they extremely unfair to expect applicants to work
Unions normally have screening committees feel that the present one is not operating in inadequate conditions when they are asked
that review applications before interviewing properly. to show their work to enter the union. Union
the prospects. It is to any Local’s advantage members have the right to complain if the
to consider carefully such applications so that One of the most difficult problems of an producer does not furnish proper make-up
the best talent is made available for their examiner is to be completely fair in judging rooms, so why shouldn’t the applicants have
ranks and to increase the artistic potential of an applicant’s work. Examiners cannot inflict the same privilege?
the Local. However, much depends upon the personality problems (either their own or the
progressive attitude of the Business Manager applicant’s)into the procedure of talent judg- PAYMENTS BY APPLICANTS FOR
(whose opinion is always given on these mat- ment and must, in all instances, judge the EX A M lNATI 0N
ters) as to how unknown or new applicants completed work of an applicant with proper
are handled. It has always proven, in the long perspective and fairness. The main question Although some Locals do not pay Examiners,
run, a serious disservice to itself for any un- it is wrong for any applicant or Local to expect
ionized group to seriously restrict member- should always be: “Can the applicant’s work that a make-up artist examiner should give
ship at any time, even in slow periods of fully represent the art and craft of the Local up a day or more of time to serve on the
work, as talent, like time, does not rest or in a job on the very next day if he or she is Examining Committee or to expect the Local
wait as they will make opportunity. If any allowed to pass?” Only “Yes” should suffice. to pay the Examiners to serve. Such expense
applicant feels that unfair treatment or undue should be borne by the applicants. A fee of
favoritismwas exhibited in the screening pro- REQUIREMENTS FOR APPLICANTS at least J 100 should be required, with at least
cedure, one does have access to the National After filling out the application for the union half this amount going to the examiners and
Labor Relations Board (who have often ruled and requesting an examination, the applicant the remainder to the Local for administrative
in favor of the individuals when a narrow must appear before the Screening Committee. work and securing a proper place for the ex-
attitude of employment is afforded by the The applicants should be ready to show pic- amination. The fee should be an individual
local in question). tures of their work, proof of their employ- one and not be returnable in case of failure
ment requirements, and maybe show what in the examination. Once again, applicants
EXAMINING COMMITTEE their make-up kit looks like. Completeness will think twice before requesting an exam-
There are many union members who refuse of these essentials should be judged along ination if they must bear its cost and will
to be on the Examining Committee because with the personality and appearance of the have the tendency to prepare themselves fully.
it often takes much volunteer time for the applicant. Just having the tools of the trade It also places the Local under the responsi-
work entailed. However, it is the most im- does not make a professional make-up artist, bility to provide adequate examination prem-
portant committee function of any Local, and but it does show a basic step toward this end. ises and conditions. An applicant who fails
greq care should be taken with its member- the examination should have to wait at least
ship. All examiners, without exception, Once the applicants have been screened and 90 to 180 days before being allowed to take
should either have taken such an examination are ready to take an examination, then a date another.
should be set up at which at least two and
not more than six applicants are to be ex-
amined at the same time. The frequency of
such examinations should be at least every
six months when applicants are available.

280 Appendix F

SCORING THE EXAMINATION SUGGESTED TYPICAL POINTS TIME (Minutes)
Although most applicants for any form of EXAMINATION 2
examination will be subject to apprehension 1 10
and nervousness, it is only in the work com- Time: 8:30 A M. to 5:30 P.M. with a 1-hour 2 20
pleted that an examiner may judge the talent lunch break. 5 30
of the applicant. Whatever system of point
grading is employed, the percentage rating APPLICANTS GRADED ON: 10
of a passing grade should not be less than 80 Attitude and Conduct
percent. If the applicant fails to complete any Appearance 20
project or part of the examination in the re- Make-up Kit
quired time, no points should be allowed Oral Exam; At least three questions from 10 45
and, if done, only for one project or part of 5 25
the examination. These circumstances must each examiner 5 45
be agreed upon by all examiners present. Written Exam: A series of 10 questions
60
No applicant should be informed as to the (selected from a standard list of about 10 30
progress or marks of the examination until it 10 30
is completed. Telling an applicant that he or 50) 5 30
she is passing or failing at any time during 5 30
the examination is unfair. Set-up Period for Materials and Examiners
Marking Written Exam 45
CATEGORIES WITHIN A LOCAL
Some Locals may set up certain categorical Practical Exam 30
groups such as department heads, charge Straight Beauty Make-up on a Woman 30
make-up artists, assistant make-up artists, Straight Make-up on a Man 60
and so on, employing seniority of member- Fashion Make-up on a Woman (including
ship or status, work ability, or area of work
(film, television, or stage), and may require false lashes)
an examination to rise to a higher category
within the Local’s work structure. Lunch Break
Age a Man 20 Years (include hair graying
Such categories should not be harmful or
restrictive to the talent advancement of any but no appliances)
member, and they should be carefully ad- Lay a Beard and Mustache on a Man
ministered and designed to provide fairness Apply Eyebags or Other Aging Prosthesis
and opportunity potential. In today’s simi-
larity between the make-up requirements of and Make-up
all mediums, any examination should be as Apply a Prosthetic Nose and Make-up
strict as another and standards not lowered
in any manner or for any medium. Note; The last three exercises can be
combined in one make-up.
PERIOD OF EXAMINATION
The suggested examination (which is de- Apply Old Age Stipple on Half a Face
signed for one full day) may be extended to Exercises: Required
two or even three days of time, with all elec-
tive projects required as well as additional Apply cuts, bruises, tattoo, scars,
hair and prosthetic work, if it is believed that burns, tears, and sweat
such a competitive level of demonstration of Attach a men’s toupee, lace beard, or
ability is necessary. This is based, of course, sideburns
on the needs and requirements of an individ- Exercises: Elective
ual Local, but the decision should be the Attach a Bald Cap and Make-up
norm and not used solely to make one par- Attach an Appliance to Show a Bullet
ticular examination more difficult than an- Hit and Blood Flowing
other. Due to considerably more character Apply Oriental Eyelids and Make-up
work being performed in the California area
of production, the extended examination time should have the right only to total scores, stant and not done for just a certain or single
is the case, while in New York City, both and such should be posted in the Local’soffice group of applicants.
unions require only a one-day examination at within three days. As most examiners know
this time. No examination should, however, within an hour or so what the final scores As can be totalled, the score available is
consist of less than the stated requirements are, there should be little reason to make an 100 points, and at least 80 points are required
and projects. applicant wait two or three weeks for the for a passing grade. Written, oral, and kit
marks. Examiners’ score cards must be filed account should go for 20 points, straight
EXAMINERS’ MARKING with the Local after being signed by the per- make-up for 20 points, and 60 points for
PROCEDURE son who scored the card. character make-up.

All three examiners must mark indepen- NOTIFICATION OF APPLICANTS #X##
dently and not compare individual scores un- Those who pass the examination should then
til the examination is fully completed. A follow the union’s procedure for membership, Mr. Kehoe’s qualifications to discuss these
scoring card should be made for each appli- while those who fail should either ask to be procedures are based on his 25 years of mem-
cant an9 the final score for each be an average placed on the list for the next examination bership in the New York City IATSE and
of the three examiners’ marks. Applicants or seriously re-assess their desire to be a having been on the Examining Committees
professional make-up artist by reading once for over ten years, in addition to heading and
again Chapter 1. writing their Apprentice Training Program.
As well, he formulated the first examination
To make the examination more compre- procedures for the New York NABET Local
hensive, the three electives can be made re- as well as holding a card in that union under
quired, with 5 points given for each exercise various categories for 20 years. His original
and the time extended an additional hour. If
this is done, it should be standard and con- professional book on make-up, published over

25 years ago, was the bible of study for the
majority of union members all over the world.

Appendix G

BRITISH A N D EUROPEAN MAKE-UP MATERIALS

It will be found that some of the products London based company, not to that in Ger- Ivory Deep brown
many. Shallow pink Light peach
mentioned in this book are not available in Brick red Medium peach
the United Kingdom. However, there are, Leichner produces make-up for stage, still Black White
in most cases, corresponding materials avail-
able that will fulfill a similar purpose. Most photography, film, and television. Several Yellowish ochre Golden tan
of the theatrical cosmetic preparations are Brownish ochre Brownish tan
ranges of products are available. Leichner also Light olive Yellowish tan
available both in the United States and in the produces a Grease Paint make-up called Spot
United Kingdom, although not all manufac- LINER FORM G
turers are represented in the United King- Lite Klear, supplied in a tube, and is applied
dom. Wherever possible, ranges that are Black Carmine 1, 2, 3
with a slightly moist sponge in the normal
imported from the United States or indeed way. Leichner also makes a Creme Cake foun- Dark brown Carmine camillion
from Europe will be listed by those companies dation, which comes in different colors for
stocking their products in the United King- White Light blue
dom. There are certain differences in tech- body make-up and is applied as most cake
niques where special effects processes are Crimson lake Medium blue
foundations with a wgt sponge. The company
concerned. Individual make-up artists do have Light brown Dark blue
individual ways of doing many of these pro- still manufactures the old-fashioned Grease
cesses, which have evolved because of the Paint Sticks wrapped in foil: Form C, the Red brown Light green
availability of certain products and com- thicker of the two, and Form G, the thin
pounds in both countries. Most often it will Light grey Medium green
liner, both of which are used in theater. Lei-
be found that problems arise when certain Dark grey Dark green
proprietary materials are used for which the chner also makes a special range for Casualty
Simulation when training medical personnel. Chrome yellow Light mauve
companies do not have an agent or supplier
in the United Kingdom. Whenever possible, This contains such items as Blood Capsules, Medium mauve
equivalents are listed or alternative tech- White Frothing Capsules, and Scar Material.
niques suggested. For simplicity, the mate- Dark mauve
rials in this field are dealt with according to In addition, the range of products also con-
manufacturers and suppliers in general. Ad- tains the more normal items, including SPOT LITE KLEAR
dresses of manufacturers or suppliers are for Blending Powder, Clown White, Negro Black
convenience in an alphabetical list at the end Medium pink Brownish tan
of this appendix. There is also a chart listing or Negro Brown, Removing Cream, and Spirit
equivalent pioducts. However, Screen Face Gums. Ivory Yellow tan
Disc. Ltd. in London will take orders for any
of the special materials listed in this book Shallow pink Peach special
which are not otherwise available in the Eu-
ropean area or the United Kingdom. Brick red Gold

BLENDING POWDER Light tan Silver

Rose Neutral
Brownish

Biscuit CREME CAKE BEN NYE
Beige Ben Nye products are imported into the
Light tan United Kingdom by certain outlets such as
Tan Olive brown Theatre Zoo, 2 1 Earlham Street, London
Red brown W C 2 , and Charles H . Fox Ltd. Both have
Gold Golden sand limited quantities and ranges such as:
Brown sand
Cream Cheek Rouge
MAX FACTOR EAU DE LYS BODY MAKE-UP Cream Highlight
Max Factor has now regrettably ceased all Cream Lining Colours
production of theatrical make-up in the United Medium pink Yellow tan Mellow Yellow
Kingdom and Europe, as well as in the United Dry Cheek Rouge
States. Throughout this section, as with the Ivory Peach special Pearl Sheen Liners
rest of this book, the former Max Factor num- Pressed Eye Shadow
bers are used in some cases as a guide to color Deep brown Blithe spirit
matching for other manufacturers’ ranges RCMA PRODUCTS
where available. White Incredible hulk RCMA products are now available in the
United Kingdom at Screen Face Ltd., which
LEICHNER Light olive carries a full line of regular products in ad-
There are two companies by the name of Lei- dition to all RCMA Special Materials.
chner in Europe, but this one refers to the GREASE PAINT FORM C

Light pink Chrome yellow
Medium pink Dark ivory

Dark pink Peach special

Coffee brown Light tan

Reddish brown Golden tan

282 Appendix G

KRYOLAN to-get-rid-of adhesives; latex, blood, wig- quantities up to 25 kilo bags. The most com-
The range of Kryolan is a very large one, and making accessories, solvents, spirit gums, monly used clay for modelling is DBP Mod-
glues, adhesives, tooth enamels, Ultra Violet elling Clay. The advantage of using clay
was originally devised to supply the needs of make-ups, etc. instead of plasticine is that clay, being grease-
theaters within Germany and near European less, does not leave any deposits in the plaster
countries. Although their products do not Their products are available from many molds.
retail outlets in London as well as in the
always fulfill the requirements of a profes- provinces. It is not possible to list the entire Fulham Pottery also produces many mo-
Kryolan range, since different outlets stock delling and sculptors' tools in addition to
sional range of make-up, as their colors can different items; however, some examples of Crystacal Plasters.
vary somewhat from batch to batch, they do, the range are:
Aquacolour: 250 shades DENTAL MATERIAL SUPPLIERS
however, maintain a very useful function. Bald cap make-up: 100 shades (rubber mask There are many dental suppliers throughout
Kryolan now produces a matching range of the United Kingdom. Most of these provide
colors to the old Max Factor CTV W Series grease paint) a very comprehensive range of products, tools,
and other commonly used colors, but not the Body make-up powder: 33 shades and equipment, mostly oriented toward den-
Cake make-up: 20 shades tistry, but many of them are useful to the
Factor 725 range. Following is a list of some Cake Rouge: 20 shades make-up artist. Dental instruments in par-
equivalents together with those of RCMA. Collodion ticular can be very useful. Most of them will
Eyebrow pencil: 15 colors supply alginate; acrylic compounds; various
(Note that these are approximate color matches Face powders: 20 shades waxes for molding, modelling, and impres-
Glatzan: bald cap material sion taking; plaster bandage; cellophane sep-
for comparative use only.) Glitter arator sheets; dental drills; various burrs; and
Grease sticks: 130 shades polishing materials for acrylic teeth, eyes,
KRYOLAN FACTOR RcCsM-1A Hydro oil remover etc. A few names and addresses are listed at
Liquid latex the end of this section.
1w CTV 1W KW- 1 Magic blood
2w CTV 2 W KW-2 Make-up palettes HAIR A N D HAIR SUPPLIERS
3w CTV 3 W KW-3 Sealor There are many wigmakers in the United
4w CTV 4 W KW-4 Solvent Kingdom, most of whom in addition to pre-
5w CTV 5 W KM- 1 Spirit gums paring all kinds of hair products such as wigs,
6W CTV 6W KM-2 Supracolour: 250 shades moustaches, sideburns, and eyebrows will also
JW CTV J W KM-3 Tooth enamels: 6 shades supply hair, crepe hair, crepe wool, human
8W CTV 8 W Ultra violet make-up: 6 shades hair, or yak hair.
CTV 9 W K- 1
9loww CTV 1OW K-2 GENERAL LIST OF SUPPLIERS A . H . Isles Ltd., 146 Lower Road, London
CTV 1LW Superwhite Screen Face Dist. Ltd. SE16, will supply all wigmaking materials
11w CTV 12W Black including wigblocks, knotting hooks, mix-
12w K1 Screen Face Dist. Ltd., 24 Powis Terrace, ing hackles, nylon net, caul net, gauzes, iron
K1 K2 s-1 Westbourne Park R d . , London W 1 1 1 JJ heaters, chemicals, human hair, crepe hair,
K2 White carries a full line of RCMA products for crepe wool, yak hair, angora, etc.
070 Black - professional use, including all RCMA Special
07 1 1742 Materials. CHEMICALS
Grey AL Ivory Many of the commonly used chemicals can
Shader AL 085 KN-6 Alec Tiranti Ltd. be obtained from the High Street chemists
EF 085 080 KN-7 Alec Tiranti Ltd., 2 1 Goodge Place, London or similar stores throughout the country. John
EF 080 Ivory - W 1, and 7 0 High Street, Theale, Berkshire, Bell & Croydon Ltd., 50 Wigmore Street,
Ivory Negro 1 See Shinto produces a large range of sculptors' tools, London W 1 , stocks many items that are use-
Negro 1 Negro 2 materials, and equipment. Many of the items ful for make-up artists, such as petroleum
Negro 2 Negro 2 series 1 in their range are especially useful to the make- jelly, spatulas, surgical gloves, acetone, al-
Negro 2 Oriental to 4 , also up artist, particularly to those make-up art- cohol, green soap, stearic acid, oleic acid,
Orienta1 KT series ists working in the special effects field. A ammonium hydroxide, distilled water, min-
Chinese 1 to 4 large range of sculptors' tools-chisels, mod- eral oil, gelatin powder, kaolin, glycerine,
Chinese Light In- elling tools, modelling clays, fibreglass res- talc, etc.
Light In- - ins, fillers, pigments, armature wire,
dian KT-3 plasticine, spatulas, callipers, scrim, burlap, As far as the more specialized chemicals
dian Dark Indian shellacs, release agents, epoxy resins, protec- are concerned, it will probably be necessary
Dark Indian Light Egyp- KT-34 tive clothing, sculptors' easels and stands, to approach industrial or commercial chem-
Light Egyp- and so on-are stocked. ical companies. l'hese can be found listed in
tian the Yellow Pages under their appropriate
tian Dark Egyp- Fulbam Pottery headings. Many of them will supply only
Dark Egyp- Fulham Pottery, 184 New Kings Road, Lon- through their subsidiary companies, partic-
tian don SW6, provides a useful range of mod- ularly where small quantities are concerned,
tian 2880 elling clays, tools, and equipment. Although so it will be necessary to first approach the
2880 Natural these are primarily designed for use in pot-
Natural tery, they are very useful to make-up artists.
beige W e t clay is normally supplied in various
beige

The full Kryolan range includes several

hundred colors available in various formula-
tions such as grease paints, paint sticks, pan
sticks, pan cakes, dry powders, body make-
ups, rubber mask grease paints, and more.

In addition, they produce a large range of
special effects materials such as Glatzan, which
is a cap plastic material; Hydro Oil Remover,

which is a very efficient remover especially
for silicone adhesives and certain other hard-

British and European Make-up Materials 283

manufacturer, and then ascertain who their are made by British Gypsum Ltd., so in case is a vinyl-based flexible mold making rna-
distributor may be. The problem make-up of any difficulty, it would be advisable to terial which is fairly tough, and can in fact
artists encounter smner or later is the diffi- contact them regarding whom they supply in be re-used by simply melting it down when
culty in getting small enough quantities of your area. Most make-up artists use two dif- there is no further use for the mold. The
materials, since many commercial houses are ferent types of plaster: Superfine, Fine Cast- material is designed for reproducing molds
interested only in supplying in bulk. ing Plaster or Dental Plaster; and for making for casting polyester resins, plasters, low
foam latex molds, Crystacal Plaster. melting waxes, etc. It has good tensile
MEDICAL SUPPLIES strength, and is available in three grades vary-
There are several companies in London and Foam latex molds made of Crystacal Plaster ing in flexibility and resilience: Natural, Red,
in all the major cities supplying the medical seem to stand up reasonably well to repeated and Yellow. Most molds can be made with
profession with surgical tubing, silicones, use in ovens, providing the oven temperature Natural or Red, but in some cases the Yellow
gloves, instruments, plaster bandages, scis- is not allowed to rise too high. This material is more suitable; that is, a flat open mold can
sors, etc. John Bell & Croydon Ltd. has a is not exactly comparable with the Ultracal be made in Yellow, and then it would not
very extensive range of medical products, as range in the United States. require a plaster case as Yellow is self-sup-
does McCarthys Surgical Ltd., Selinas Lane, porting. Melting temperatures vary from
Dagenham, Essex. Plaster bandage is available generally from about l5OoC to 170OC.
medical supply companies. Crystacal Plaster
POLYMERS, PLASTICS, A N D and Dental or Fine Casting Plasters are avail- The basic principle behind Vinamold is
RUBBERS able from various retail outlets, including that the flexible PVC material is melted down
Fulham Pottery, Alec Tiranti Ltd., and sev- in a melting pot, and poured over the original
There are many commercial companies eral good builder’s merchants; in fact, most cast or model. It is then allowed to cool, and
throughout the United Kingdom either im- builder’s merchants will order to your own the resultant flexible mold is backed with a
porting proprietary products or supplying requirements from British Gypsum. plaster case. The material is then removed
their own; however, it should be noted that from the model. Vinamolds in general are
neither Permaflex nor BJB products are rep- As mentioned, there are no direct equiv- relatively harmless to handle, provided the
resented in the United Kingdom or Europe. alents to American Ultracal Plasters. The manufacturer’sinstructions are followed. Tir-
nearest equivalent plasters obtainable in the anti publishes a very comprehensive booklet
W.P. Notcutt Ltd., 44 Church Road, United Kingdom are probably the dental stone on Vinamold and it is recommended that it
Teddington, Middlesex, is the agent for all products, which can be obtained from dental should be consulted before using this mate-
Smooth-On products. It is also the agent for supply companies. These are normally packed rial. In addition, Tiranti also supplies both
an excellent silicone rubber made by Wacker in small quantities, since they are only used the Vinamold and all the melters and nec-
GmbH in Germany, in addition to keeping for dental purposes. essary equipment for using it.
various polyurethane products annd silicone
fluid release agents, etc. GENERAL ART MATERlALS AND MODELLING MATERIALS
ARTISTS’ SUPPLIERS Most British make-up artists are now chang-
Dow Corning Ltd., Bridge Road House, ing over to modelling in wet clay for its ob-
Reading, Berkshire, makes a huge range of There are at least three major manufacturers vious advantages. Plasticine is similar to
silicone rubbers, fluids, release agents, and of artists’ materials in the United Kingdom, Plastalene in the United States.
all silicone materials. They also make a Sur- notably Winsor Newton, Rowney, and
gical Silicone Foam Compound, which can Reeves. They all produce a range of pig- EUROPEAN MAKE-UP
be very useful. ments, oil colors, water colors, brushes, etc. MANUFACTURERS A N D SUPPLIERS
Most of their products are normally obtain- The best known European make-up manu-
Elastomer Products Ltd., Wharf Way, Glen able in good art shops throughout the United facturers are either in Germany or France,
Parva, Leics., supplies both flexible and non- Kingdom. from where the ranges are distributed to other
flexible polyurethane foams, which are gen- parts of Western Europe and Scandinavia.
erally available in large quantities only. In addition to these companies’ products, Suppliers are usually located in the capitals,
you will find the materials of most major where film and television studios are gener-
Alec Tiranti Ltd. is the agent for General European and American companies, such as ally situated. Some of the commonly used
Electric Products in the United Kingdom and Liquitex and Pebeo, also easily obtainable in chemicals such as alcohol and acetone are not
has a comprehensive range of many silicone art stores throughout the United Kingdom. always so freely obtainable as in the United
rubbers, fluids, etc., as well as stocking many Kingdom or United States, and consequently
other elastomers such as Vinamold. Brodie and Middleton Ltd., 68 Drury Lane, it might be necessary to get a prescription.
London W . C . 2 . , has an excellent range of Following is a list of suppliers, by country,
Charles H . Fox Ltd. supplies many cap brushes, pigments, and shellac, etc. with products supplied.
plastic materials, liquid latex, and foam latex
formulations, especially from Kryolan, many DUPLICATING MATERIALS Austria
of which are obtainable in kit forms. As far as duplication of molds is concerned, Fritz Brennig, Magdalenenstr.22, A- 1070
in the United Kingdom, most make-up art- Vienna. Make-up supplies.
Tom McLaughlin (Chemical Sales), 26 Av- ists use silicone rubbers or Vinamold. Poly-
enue Road, London E7, supplies an excellent urethane compounds such as those manu- Belgium
foam latex kit of 25 litres of latex together factured by Permaflex Company, for exam- Maison Jean Avonstondt et Fils, 13 rue Mel-
with instructions. Other items include High ple, are not exported to the United Kingdom. sens, B- 1000 Brussels. Make-up supplies.
Rise Foaming Agent, a cure “Accelerator,” Certain Smooth-On products are, however,
Acrylic Latex Thickener, etc. imported by Notcutt Ltd. who is their agent Denmark
in the United Kingdom. Anker & Lovbo, Amagertorv 15, 11, 1160
Casting Latex and Pure Gum Latex are
pure Natural Latex Compounds, which are A full range of alginates is available from Copenhagen K. Make-up supplies.
supplied in the United Kingdom by Maca- all dental supply companies. Screen Face Dist. Bertello, Trianglen 4 , 2100 Copenhagen 0.
dam & Co. Ltd., Monument House, Mon- Ltd, 52 Wardour St., London W . l , carries
ument Street, London EC3, or William Mid-America’s Prosthetic Grade Alginate. Make-up supplies.
Symington & Son Ltd., Bath House, Holborn Frida Davidsens Eftf., Nr.Farimagsgade 17,
Viaduct, London EC1. Both of these com- Vinatex Ltd. produces Vinamold, which
panies will supply in gallon ( 5 litre)quantities. is stocked by Alec Tiranti Ltd., and which 1364 Copenhagen K. Make-up sup-
is a Hot Melt Compound frequently used for plies.
PLASTERS duplicating either molds, plaster casts, or in
In the United Kingdom all plaster products certain cases plasticine and other models. This

284 Appendix G

Chr. W , Mende & Co., Kronprinsensgade 9, Hair and Hair Supplies Cottrell & Co. Dental Ltd., 15- 17 Charlotte
1114 Copenhagen K. Make-up sup- The following companies supply wigs, beards, Street, London W. 1.
plies. moustaches, hair, etc.
Dior, Christian, Siege Social, 30 Avenue
Finland Fischbach & Miller, Sudd. Haarveredelung, Hoche, 75008 Paris.
Koukkanen Pemukkiliike Ky, 1t.Teatterikuja Poststr. 1, 7958 Laupheim.
5B, Helsinki 10. Make-up supplies. Wigs Dow Corning Ltd., Bridge Road House,
and hair supplies. Haar-Praxis, Klaassen, Alter Markt 5 , 46 Reading, Berkshire.
Dortmund.
France Dunlop Rubber Co. Ltd., Dunlop House,
Adam, 11 Blvd. Edgarquinte, 75014 Paris. Herzig, Gustav, Postfach 1440, Carl-Benz- Ryder Street, London SW1.
Str.9-11, 6830 Schwefzingen.
Fibreglass, urethanes, resins, foam la- Elastomer Products Ltd., Wharf Way, Glen
tex, plasters. Lehmkul-Import Agenturen, St. Benedict Parva, Leics.
Berty, 49 rue Claude Bernard, 75005 Paris. Str.30, 2 Hamburg 13.
Same materials as above plus paints, Eylure Ltd., Grange Industrial Estate,
acrylics, tools, etc. Plessow, Karl G m b H & Co. Kg., Jebelstr. 1, Cwmbran, Gwent.
Bogard, Fraqois, 131 rue I'llnivenite, 75007 1 Berlin 12.
Paris. Disc. RCMA Make-up supplies. Factor, Max Ltd., 75 Davies Street, London
Deruelle, 34 av. Paul Doumer, 92500 Rueil Italy w . 1.
Malmaison. Make-up supplies, their own Paruccheria Filistrucchi, Via S. Verdi 9, Flor-
range. Fox, Charles H., Ltd., 22 Tavistock Street,
Dorin SA, 36 rue des Renouillers, 92700 ence. Make-up supplies. London WC2.
Colombes. Make-up supplies. Rocchetti-Carboni Srl., Via Monte della Far-
Isker, 24 rue des Petes Ecures, 75101 Paris. Fulham Pottery, 184 New Kings Road, Lon-
Dental supplies, alginate, tools, equip- ina 19, Roma. Make-up supplies (their don SW6.
ment. own range), wigs, beards, moustaches,
Merle (Parfumerie Lucienne), 9 av. Matig- hair, etc. Ici PLC, Imperial Chemical House, Mill-
non, 75008 Paris. Make-up supplies and bank, London SW1.
chemicals. The Netherlands
Make-up Studio, 45 rue Saint Honore, 75001 The following companies supply make-up. Isles, A . H . , Ltd., 146 Lower Road, London
Paris. Make-up supplies. SE16.
Cladder van P.E., Utrechtsestr.47, Amster-
Parfumerie des Vedettes, 85 rue de Fabourg dam. Kryolan-Brandel GmbH, Papierstr. 10, 1
Saint-Denis, 750 10 Paris. Make-up Berlin 5 1.
supplies and chemicals. Coelho, Nieuw Prinsengracht 7, Amster-
dam. Macadam & Co. Ltd., Monument House,
Paris-Berlin, 30 rue Chaptal, 75009 Paris. Monument Street, London EC3.
Make-up supplies. Partyhaus, Rosengracht 68, Amsterdam.
Volen van Leon en Zolen, Woustraat 8, Am- McCarthys Surgical Ltd., Selinas Lane, Dag-
Rosier Atelier Pascal, 10 rue du Rendez-vous, enham, Essex.
75012 Paris. Make-up supplies. sterdam.
McLaughlin, Tom (Chemical Sales), 26 Av-
Hair and Hair Supplies Noway enue Road, London E.7.
The following companies supply wigs, mous- NS Frisor, Youngsgatan I 1 B,N-Oslo. Make-
taches, beards, etc. Notcutt, W.P. Ltd., 44 Church Road, Ted-
up supplies. dington, Middlesex.
Bertrand SA, 31 Fg. Montmartre, 75009
Paris. Sweden Reeves & Sons Ltd., Lincoln Road, Enfield.
Teaterspecialisten, Gosta Jonsson, Storgatan Rowney, George & Co. Ltd., Bracknell,
Carita, 11 Fabourg Saint-Honore, 75008
Paris. 12, Stockholm. Make-up supplies. Berkshire.

Cuverville Figaro, 117 rue de la Convention, Switzerland Screen Face Dist. Ltd 24 Powis Terrace.
75015 Paris. Salon P. Tansini., Limmatquai 4/Tordasse,
London W 1 I - 1JJ
Denis Poluene, 10 Cite Trevisse, 75007 Paris. Zurich 1. Make-up supplies.
Neant-Drieaux Jeanne, 43 av. Aristide Briand, Simon Wigs Ltd., 2 New Burlington Street,
ADDRESSES OF MANUFACTURERS London W. 1.
78270 Paris. A N D SUPPLIERS
Wig Studios, 45 Rue de Lille, 75007 Paris. Smith, R . H . , & Sons (Wigmakers) Ltd., At-
Aesthetic Productions, 111 Tudor Avenue, tifer Works, Gainsborough, Lincs.
Germany Worcester Park, Surrey.
Bela G m b H , Herzogstr.97,8 Munich 40. Symington, William, & Son, Bath House,
Amalgamated Dental Co. Ltd., Amalco Holborn Viaduct, London EC1.
Make-up supplies. House, 26-40 Broadwick Street, Lon-
Herhausen Drogerien, Tempelhofer Damm don W.1. Theatre Zoo, 21 Earlham Street, London
wc2.
122, 1 Berlin 42. Make-up supplies. Ash, Claudius Sons & Co. Ltd., Casco House,
Kryolan-Brandel GmbH, Papierstr. 10, 1 Moon Lane, Barnet, Herts. Tiranti, Alec Ltd., 22 Goodge Place, London
W . 1. and 70 High Street, Theale,
Berlin 5 1. Make-up supplies for theater, Austenal Dental Products Ltd., 622 Western Berkshire.
film, and television as mentioned in de- Avenue, Park Royal, London W 3 .
tail in the previous section. Special ef- White, S.S., Dental Co. Ltd., Bedford House,
fects materials such as latex, foam latex, Banbury Postiche Ltd., Little Bourton House, 32-34 Clarendon Road, Harrow, Mid-
modelling tools, clay, plasters, ure- Southam Road, Banbury, Oxon. dlesex.
thanes, etc. are supplied.
Pads & Co. Stretzeuggasse 6, 5 Koln. Make- Baxter Dental Co. Ltd., 617' Crystal Centre, Wig Creations, 12 Old Butlington Street,
up supplies. Elmgrove Road, Harrow, Middlesex. London W. 1.
Sternenmode GmbH, Bergisch Gladbacher
Str.1027, 5 Koln 80. Make-up sup- BDH Chemicals Ltd., Freshwater Road, Wigmakers, The, Unit 24, 44 Earlham Street,
plies. Dagenham, Essex. London WC2.

Bell, John & Croydon Ltd., 50 Wigmore Wig Specialties Ltd., 173 Seymour Place,
Street, London W . 1. London W. 1.

British Gypsum Ltd., Westfield, Singlewell Winsor & Newton, 5 1 Rathbone Place, Lon-
Road, Gravesend. don W . 1.

Boots Chemists PIC., Station Road, Not- Wright Dental Group Ltd., Dunsinane Av-
tingham. enue, Kingsway West, Dundee.

Brodie & Middleton Ltd., 68 Drury Lane,
London WC2.

British and European Make-up Materials 285

EQUIVALENT MATERIALS OR UNITED KINGDOM
SUPPLIERS
Screen Face
UNITED STATES
Scrim
Prosthetic Grade Cream Vinamold
Hemp
Koroseal Notcutt Ltd.
Smooth-on PMC-724 Chemist
Petroleum jelly
Wet cellophane Dental companies
Silicon mold release Notcutt Ltd. and Screen Face
Dow Corning Compound DC-7
Cap Plastic Tiranti
Stearic acid Glatzan Eylure and RCMA (Screen Face)
Ivory soap Chemist
Orange shellac Chemist
Polyurethane laquer Art shops
Mineral oil
Burlap Hardware shop
Casting plaster Chemist
Ultracal
Plastalene Tiranti
Casting latex Fine casting
Acryl 60 Cement Hardener
Fibre Crystacal
RCMA Prosthetic Adhesive A Plastacine
RCMA Prosthetic Adhesive B
Liquidtex Acrylic Colors William Symington and Screen Face
Urethane Stipple Sponge
Zinc oxide Polypond
Tincture of green soap Tiranti
BJB Polyurethane Foam (similar type)
Molding material Screen Face
Scar or blister making material Screen Face
Silicon grease
Jet Denture Repair Acrylic Art shops
Flexacryl Soft Rebase Acrylic Fox, Theatre Zoo and Screen Face
Matte Plasticized Adhesive Chemical company
Matte Plastic Sealer Chemist
Screen Face (RCMA polyurethanes)

Screen Face

Tuplast-Kryolan and Screen Face
Dow Corning-Tiranti and Screen Face
Simplex Rapid Acryl
Flexi base
Mastix-Kryolan and RCMA (Screen Face)

Screen Face

Selected B ibliograpby

The professional make-up artist’s library can Some of the book series published by Time- Other books of interest are:
vary from a sparse number of reference books Life contain period illustrations in many areas
to an extensive collection covering a wide that are also useful for research of historical Taylor, A,, and Taylor, S. Making a Monster.
range of subjects. However, the following figures and personalities. New York: Crown, 1980.
lists a selection of basic books and periodicals
that will serve as a sound start for make-up MAKE-UP Wilcox, R.T. Five Centuries of American Cos-
purposes. In addition to the periodicals men- Although many books on make-up have been tume. New York: Scribner’s, 1936.
tioned here, many manufacturers will fur- published over the years, a considerable num-
nish, on request, excellent technical bulletins ber are designed for amateur or some college- Wilkie, Bernard. Creating Special Effects for
on their products to aid both in research and level self-application studies for aspiring 7 T and Films. London: Focal, 1977.
in understanding the chemical functions and performers. Most should be considered as sec-
properties of the items. Addresses for some ondary sources as many are based on out- Also, Milady Publishing of New York has
of these suppliers are found in Appendix B. moded principles and methods for professional many books on various phases of hairdressing,
work. cosmetology, aesthetics, and related books in
ANATOMY the beauty salon field.
American Academy of Facial Plastic and Re- Three basic books that have been recently
published bring different approaches to the PROFESSIONAL A N D TRADE
constructive Surgery, “How to Select a field and cover basic to advanced character PUBLICATIONS
Cosmetic Facial Surgeon.” Chicago: make-up principles.
1979. The major periodicals in the professional field
Sheppard, John. Anatomy: A Complete Guide Baygan, Lee. Techniques of Three-Dimensional include theJournal ofthe Society of Motion Pic-
for Artists. New York: Watson Guptill, ture and Television Engineers and The American
1975. Make-up. New York: Watson Guptill, Cinematographw of the American Society of
1982. Cinematographers, while the manufacturing
BEAUTY A N D AESTHETICS Savini, Tom. Grande Illusions: Special Efects area is covered by Modern Plastics, Drug and
Gerson, Joel. Standzrd Textbookfor Professional Make-up. Pittsburgh: Imagine, 1983. Cosmetic InduJtry, and HAPPI (Household and
Personal Products Industry) magazines.
Estheticians. New York: Milady, 1979. Westmore, Michael. The A r t of Theatrical
Lord, Shirley. You Are Beautqul. London: In addition, there are a number of maga-
Make-up for Stage and Screen. New York: zines devoted to special film effects that cover
Sidgwick &Jackson, 1978. McGraw-Hill, 1973. make-up, electronics, mechanicals, computer
Lubowe, Irwin. Modwn Guide toSkin Careand science applications, and so forth:
NATIONAL A N D RACIAL
Beauty. New York: E.P. Dutton, 1973. The National Geographic Society has pub- Cinefantastique, P.O. Box 270, Oak Park, IL
lished a magazine for many years with ex- 60603.
HAIRSTYLING A N D WIGDRESSING cellent photographs of ethnic studies as well
Botham, Mary, and Sharrard, L. Manual of as a number of books on the subject. Also Cinemagic and Fangoria, Starlog Press, 475
see Time-Life Books on this subject and the
Wigmuking. New York: Funk & Wag- Smithsonian Institute’s Bureau of Ethnology Park Ave., New York, NY 10016.
nalls, 1964. Reports.
Corson, Richard. Fashions in Hair. London: In the field of professional theatre, the
Peter Owen, 1965. TECHNICAL A N D SPECIAL leading magazine is Theatre Crafis, 135 Fifth
Wilcox, R. Turner. The Mode in Hats and SUBJECTS Ave., New York, NY 10010.
Headdress. New York: Scribner’s, 1949.
Clark, F. Special Effects in Motion Pictures. New There are also many books on cosmetic
HISTORICAL STUDIES York: SMPTE, 1966. manufacture and processing that are avail-
These studies can be broken down into two able, and one of the best is Sagarin, Edward,
categories: books on the history of make-up Clarke, Carl Dame. Molding and Casting. St. ed. Cosmetics:Science and Technology. New York:
and books on historical periods of time. Many Louis: C.V. Mosby, 1945. Wiley-Interscience, 1972, 2nd edition (3
of the latter can be found in the remainder volumes).
displays in chain bookstores at a reduced price. Clarke, Charles G . Profissional Cinemutogra-
Unless one wants to build a vast library, these phy. Hollywood: ASC, n.d. It is also recommended to purchase from
should be purchased as they are required for time to time various fashion magazines to
researching a particular production. Many can Dental Technician, Prosthetic. Washington: keep up with the current fads and directions
also be taken out on loan from public libraries. Government Printing Office, 1965. (A in style, while news magazines furnish a source
U.S. Navy Training Course book.) for photographs of historical as well as current
Westmore, Frank, and Davidson, Muriel. The personalities. Visits to second-hand book-
Westmores of Hollywood. New York: J .B, The Elements of Color for Professional Motion stores are often rewarded with useful books
Ljppincott, 1976. Pictures. New York: SMPTE, 1957. to build a make-up artist’s working library
with out-of-print books and magazines at re-
Lorant, Stefan. The Presidency. New York: Grabb, William C., and Smith, James W . duced prices. Steel-cut engravings in old his-
Macmillan, 1952. Plastic Surgery. Boston: Little, Brown, tory books form an excellent source of
1979. illustrations for a research file system, as de-
scribed in Appendix D , as the low cost of
these books allows one to take out the cuts
and discard the rest of the book.

Index

Acetone, 37 Elaine, 148 fitch hair, 35
Acryl 60, 166, 185 Bald caps and heads, 102-104, 107-108, goat hair, 35
Additive primaries, 12 hair whitening, 36
Adhesives, 27, 37, 210ff. 124-125, 212-216 lipcolor, 36, 43
mold, 181ff. ox hair, 35
eyelash, 34, 39, 108 partial, 103 plastic, 35-36
Matte, 37, 42, 72, 250ff. Ballet make-up, 76 powder, 35
Matte Lace, 37, 40, 42, 255 Bandoline, 41 sable, black, 35
Matte Plasticized, 38, 2 1Iff. Barnett, Vince, 102, 108 sable, red, 35-36
Matte #16, 38, 254ff. sculpture, 173, 178
Prosthetic A, 38, 42, 121, Zllff. Barrymore, John, 142 shading and countershading, 36
Prosthetic B, 38, 42, 211ff. Bau, George, 39, 107 Buchheit, Leon, 259ff.
Remover, 38, 255 Baygan, Lee, 207 Burlap, 172ff.
Special #1, 38, 215 Beard Burnam, Tom, xiii, 162. 164-165, 184, 196,
Special #2, 38
spirit gum, 37, 42 covers, 32, 70-72 209, 214-218
tape, 37 setting spray, 39 Burns, 232-235
Thinner, 38 Beards Burnt cork, 41
Adler, Felix, 157 application, 250ff. Burton, Richard, 146-147
Aesthetician, 4, 78, 79 stipple, 256 Byzantines, 134
Africans, 127
Age make-up, 97ff. stubble, 256 Cap, bald, 102-104, 107-108, 124-125,
progressive, 98, 99, 110, 116, 117 Beauty make-up, 5 Iff. 212-216
reversal, 110, 118
spots, 101, 108 clinics and spas, 78 material, 203
Albinoes, 127 Ben Nye Co., 29, 31-34, 38, 55, 71, 101, Carbon tetrachloride, 4 1
Alcohol, 38 Carotene, 84
Alginate, 165ff. 125, 268, 269 Casting plaster, 165ff.
separator, 185, 186 BJB Enterprises, 201
Allergies, 29 Black-and-white, 10,43,47, 52, 57, 59, 60, molds, 178ff.
Alpine types, 122 Caucasoid, 29, 119ff.
Ambient light, 13 70, 100
American Academy of Facial Plastic and television, 12, 14, 16, 56 make-up, 30-3 1, 5 1ff.
film, 13, 16-19, 27-28, 275 Cell therapy, 79
Reconstructive Surgery, 81 Blair, Janet, 14 Central Americans, 125
Blair, Linda, 224 Chambers, John, 147-149, 166, 182, 203,
Americans Blau, Fred, 236238
Central, 125 Blends, 52 217
Indians, 121-125 Blepharoplasty, 82ff. Chaney, Lon, Jr., 39, 141, 143
North, 122-125 Blister Making Material, 39 Chaney, Lon, Sr., 93, 94, 141, 217, 236
South, 125 Character make-up, 76, 91ff.
Blood, 38, 41, 235 Charts o r records, 24-25, 91, 93
Animal men, 146154 Blush. See Rouge, dry cake or blush Cheekbones, 121
Appliances, 102, 110, 165ff. Cheekcolor, 27, 29, 30, 32, 33, 41, 49, 52,
Armenians, 125 Body
Artificial blood, 38, 41, 235 hair, 256-257 54, 59-61, 72, 75
Artificial Tears and Perspiration, 38 make-up, 74 Chemical peel, 84
Ashkenazim, 125 Chemosurgery, 85
Asiatics Boham, Gary, 108, 111-1 12, 198-200 Chiaroscuro, 100
Bolger, Ray, 154 Children’s make-up, 73
Central, 126 Botin, Rob, 217 Chins, 102, 105
Eastern, 126 Brachycephalic head shape, 49 Chroma-key, 16
Northern, 126 Brilliantine, 41 Chrominance, 13
Southeastern, 126 British and European make-up materials, Churchill, Sarah, 212
Southern, 125 Clairol Co., 66
Southwestern, 125 281-285 Clark, Bobby, 153
Australoid stock, 127 Bruises, 235 Clay
Brushes, 35-36
Baker, Rick, 110, 142, 144, 147-152, 191, Attapulgus, 37
217-222 badger hair, 35 sculpture, 172ff.
blending, 36 Cleansers, 27, 34, 72
bristle, 35-36 Cleansing tissues, 107, 277
camel hair, 35-36

eyebrow, 36, 63-64
eyecolor, 36
eyelash, 36, 65
eyelining, 36