Airdrie Dance Academy
Studio Handbook 2015-16
(403)948-5530
www.airdriedance.ca
This is a concise alphabetical list of additional things you need to know.
Please check our website on a regular basis for updated info.
Director: Susan Laing
Instructors: Susan Laing, Angela Dumont, Kathy Collier
Accts/Office Manager: Leanne Bohnsack leanne@airdriedance.ca
Attendance – Parents, please be aware that dancers are expected to attend and
be prepared for all of their classes. (Please see “Competition Preparation Policy).
Please email office@airdriedance.ca for any absences. Please list dancer’s
name, class, teacher’s name and contact person.
Class Moms - are very valuable. They are the contact person for each class.
Messages will be passed from the teacher/office to them and they will fan the
information out. This role has minimal commitment with a massive amount of fun.
Volunteers will be requested during Watching Week in October.
Competition – All classes attend competition – with the exception of Creative, Pre
Primary Ballet, Recreational/Adult.
Competition Preparation Policy – Dancers’ progress and attendance is noted
throughout the year. Once choreography for the routines begin, the progress and
attendance is even more vital. Any dancer falling behind will be “put on notice”.
They will have 2 weeks to show progress or they will receive another “notice”.
Anyone still on “notice” during competition time will not be able to participate and
fees are non-refundable. Regular attendance and consistent practice will build
confidence in your student and contribute to a healthy dance experience.
Students missing classes due to family vacations may also fall behind.
Communication with your instructor prior to your trip may avoid any unnecessary
consequences afterwards. Decisions to put a student on notice will not be taken
lightly!!!!
Competition Prizes - Trophies will be displayed at the studio. Group “Dance Off
Awards” cheques are made payable to the studio and will be handled under the
discretion of Miss Susan.
Costumes – Costume choices are non-negotiable. Discusssions are
encouraged, however, please trust your teachers! Parents are responsible for
alterations. Costume measuring will happen on Saturday, October 24th at the
studio time TBA. Every student is expected to come to be measured that day
unless otherwise indicated by teachers. Girls must be dressed in their bodysuit
and tights—Boys shorts and t shirts. Anyone missing will be rescheduled for a fee
of $10 per student. **A reference binder listing each class, their costume picture,
price, song name, artist, class mom and other related information will be on the
desk in the lobby.
Costume/Competition Fees - These fees are to be paid for by Saturday,
November 15, 2015. Cheques are to be made out to Susan Laing or Airdrie
Dance Academy and dated for November 15, 2015. Visa or MC payments are
also accepted by notifying leanne@airdriedance.ca. Costume fees will be posted
at the studio and on the website. Cash payments are also accepted.
Competition fees are $65/dancer per class per competition. Costumes start at
$120. Costume and competition fees are non-refundable.
Dance Accounts – All Accounts require a credit card (Visa/Mc) number and
expiry to be on file. Accounts will have a $45.00 service charge on returned/NSF
cheques. This amount plus the amount of the original cheque will be charged
directly to the credit card on file. Late payments will be assessed a late fee of $20
per month and will be added to an account by the 8 th of the month if payment has
not been received by that date. Any change in credit cards on file, must be
accompanied by an authorization by email or by filling out form “Authorization of
Card Use” in the following Appendix B.
Dance Music – Parents are responsible for acquiring the music for their dancer’s
routines. Details for music are in the Costume Reference Binder. Parents are
also encouraged to video dance routines as another useful practice tool.
Emails - Emails will be sent out to parents on a regular basis. If you are not
receiving any, please contact office@airdriedance.ca to update your personal
information. All information will be posted on our website and/or the lobby bulletin
board.
First Week Procedure - Orientation/Introductions Each family must have their payments received at the office prior to the first class.
Dancers are encouraged to bring a parent along with them to their first class. Each
class will begin with an introduction of the instructor and staff. Studio rules and
expectations will be reviewed. This will be followed by a parent/dancer question
period. Once complete, the parents will be asked to leave. Dancing will begin.
Personal Info - It is your responsibility to keep your personal information updated
(phone #s, emails, emergency contacts). Please contact the office by email with
updates.
Recital – FOLLIES 2016 will be held April 28-29-30th, 2016 at the Bert Church
Theatre. There will be 4 performances. Classes will be divided into 2 groups.
Showcase A and Showcase B. Each showcase performs twice allowing family
and friends an opportunity to see their dancer. Tickets will be available online
approximately 2-3 weeks prior to the Follies Weekend. Details TBA.
Snow Day Policy - Cancellation of classes will be recorded on our telephone
answering machine the day of the cancellation by 2 pm and a mass email will be
sent. Snow days will be observed according to the local schools and makeup
classes will not be rescheduled.
Solos/Duets Guidelines - Dancers are chosen by Miss Susan. Criteria for
selection includes: a strong technical base in the area of solo selection, a true love
of dance, regular attendance, hard work in class, enthusiasm and most important,
a positive attitude. Selection for this is a privilege.
Studio Jackets/Dancewear - Order forms/info will be made available on the
student site and at the studio.
Studio Rules  Dress code is in effect for each and every class.
 No jewelry.
 Punctuality is important. Please be on time for class arrival and departure.
Arrive 5 to 10 minutes prior to your start time.
 All outdoor shoes must be removed, once inside the building.
 No food or drinks are allowed inside the building, except water in water bottles!
 Due to the high number of students with severe allergies, NO FOOD IS
ALLOWED IN THE BUILDING!!!!
 Please supervise your children in the waiting room area. No jumping on the
chairs or banging on the viewing window. Abuse of this area will result in
restricted access.
 The yard/house is off limits!!
 No smoking or pets allowed on the property.
 Parking is available. Do not park in front of the house or on the “inside” of the
loop. Drive in the south side of the loop and exit the north side of the loop.
This whole area is a NON IDLE Zone.
 Be respectful of the teachers and their classes. If you need to book an
appointment, contact office@airdriedance.ca. Do not “pop your head in” as it
disrupts the classes and the teacher’s and student’s focus. If something is
urgent, please feel free to send a note in with your dancer prior to their class
beginning.
 The studio phone number is also Miss Susan’s home phone number, so please
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call 1-3 pm Monday thru Thursday.
Please support your dancer with a regular “practice schedule”. Your
involvement can aid in their progress!!! Encourage them and require them to
practice!!
All instructors are to be addressed as “MISS” followed by their first name i.e.:
Miss Susan, Miss Angela, Miss Kathy…..
Please email the office office@airdriedance.ca if your dancer is going to be
absent.
Permission must be received from Miss Susan, prior to any guests being
admitted into the studio for “special viewing”.
Dancers who disrupt class, will be given one warning - moved to the front of the
class and then if the behavior continues, asked to sit out and observe. If this
behavior continues for a second week, the parent will be notified.
Zero tolerance for anyone displaying unsafe or rude behavior to another
student or teacher. They will be asked to immediately leave the studio and the
issue will be addressed with the student, parent, teacher and director. Until the
meeting takes place, the student is suspended from the studio. Depending on
the outcome of this meeting, they may be asked to leave the studio for good.
Please be respectful to other parents, students and staff.
Teachers are NOT encouraged to give out their personal contact information.
Any correspondence should go thru the office.
Costumes will be held until any balance owing is collected.
Studio Website - www.airdriedance.ca/students - will be the location for all
studio information.
Tax Receipts – Tax Receipts for the 2015 Fitness Credit will be made available in
the Studio by the end of February 2016. No tax receipts will be emailed.
Upcoming Dates - check the website’s bulletin board on a regular basis. Some
dates to follow:
September 11 - 1st day of classes
September 17 – Adult Hip Hop starts (6 wks)
September 19 – Session 1 Recreational Classes start (6 wks)
October 9-12 no classes (Thanksgiving)
October 14-20 - viewing week
October 24 - measuring day 3pm to 430pm
November 7 – Session 2 Recreational Classes start (6wks)
November 11 - no classes (Remembrance Day)
November 15 - costume/competition fees due
December 13 - last day of classes before Christmas
December 14 - January 3 - Christmas Break no classes
January 4- classes resume
January 9 – Session 3 Recreational Classes start (6 wks)
February 15-18 - no classes
February 19 - classes resume
March 25 - Good Friday
April 11-15 - Easter Break no classes
April 16 – classes resume
- Diamonds and Dance Festival –Olds--tba
- Dance for Dreams –U of C Calgary --tba
- Dance Evolution, Springbank --tba
April -- Home and Lifestyle Show Genesis
April 28-29-30 – Follies 2016
Viewing Week - Viewing week will be held from October 14 -20, 2014. This is an
opportunity to please come to watch and enjoy your child in class.
Withdrawals - One month’s written notice is required prior to withdrawal. Failure
to give sufficient notice will forfeit the next month’s payment and then the
remaining cheques/fees will be returned. (May’s fees are non-refundable). Credit
card info will be deleted to avoid any further charges. Withdrawals requested
after December 1, 2015 will be subject to costume and competition charges.
Sessional Fees (i.e.: Stretch, Beginner Tap Classes and Beginner Musical Theatre
Classes) are non-refundable after the 1st class.
Thank you for following the rules and expectations of Airdrie Dance Academy.
With everyone’s cooperation, we will have a fun and successful dance season.
Yours in Dance,
Miss Susan and Staff
APPENDIX A - REQUIRED DANCEWEAR
APPENDIX B - AUTHORIZATION OF CREDIT CARD USE
APPENDIX C - HOW TO TAKE CARE OF DANCE COSTUMES
APPENDIX D - PERFORMANCE MAKEUP INSTRUCTIONS
APPENDIX A
Airdrie Dance Academy - Required Dancewear – 2015/16
BALLET:
Pre-Primary Ballet and Primary Ballet
Girls:
Pale pink sleeveless tank, scoop neck body suit (Mondor #1645)
Pink soft leather ballet slippers with pink elastic – no split soles
Pink tights (Mondor #310)
Pink chiffon skirt (Mondor #16207)
Hair is required to be in a ballet bun and if hair is short, neatly pinned and gelled back
Boys:
White TIGHT FITTING t-shirt
Navy shorts
White ballet slippers with white elastics – no split soles
White ankle socks
Grade 1 , Grade 2 and Grade 3 Ballet
Girls:
Navy, sleeveless tank, pinch front bodysuit with matching elastic belt (normally
included with bodysuit) – (Mondor #1633)
Pink soft leather ballet slippers with pink elastic – no split soles
Pink tights (Mondor #310)(no skirt)
Hair is required to be in a ballet bun and if hair is short, neatly pinned and gelled back
Black canvas Character shoes, low heel
Boys:
White TIGHT FITTING t-shirt
Navy shorts
Brown leather belt (at least 1 inch in width)
White ballet slippers with white elastics – no split soles
White ankle socks
Grade 4 and 5 Ballet
Mulberry, sleeveless tank, pinch front bodysuit with matching elastic belt (normally
included with bodysuit)-(Mondor #1633)
Pink soft leather ballet slippers with pink elastic – no split soles
Pink tights( Mondor #310 or #314)
Hair is required to be in a ballet bun and if hair is short, neatly pinned and gelled back
Optional dance sweater can be worn in cold weather (No hoodies or sweatshirts)
Black canvas character shoes with Cuban heel
Grade 6, 7 and 8 Ballet
Girls:
Black camisole bodysuit (Mondor #1613)
Pink soft leather ballet slippers with pink elastic – split soles allowed.
Pink convertible tights-(Mondor #314)
Hair is required to be in a ballet bun and if hair is short, neatly pinned and gelled back
Inter-Foundation
Girls:
Black camisole bodysuit (Mondor #1613)
Pink soft leather ballet slippers with pink elastic – split soles allowed.
Pink convertible tights-(Mondor #314)
Pink pointe shoes required
Hair is required to be in a ballet bun and if hair is short, neatly pinned and gelled back
Optional dance sweater can be worn in cold weather (No hoodies or sweatshirts)
Teen Ballet
Black sleeveless bodysuit
Pink tights (Mondor # 314)
Pink soft leather ballet slippers with pink elastic – split soles allowed
No character shoes or pointe shoes required for this class
Hair is required to be in a ballet bun and if hair is short, neatly pinned and gelled back
Technique 1 and 2 Ballet
Black sleeveless bodysuit
Pink convertible tights (Mondor #314)
Pink leather ballet slippers
Hair is required to be in a ballet bun and if hair is short, neatly pinned and gelled back
Pointe
Students should wear their ballet class uniform for this class, along with pointe shoes with
ribbons
Hair is required to be in a ballet bun and if hair is short, neatly pinned and gelled back
RAD Exams (Grade 1 thru 8)
Character skirt (Mondor #3080)
Scarf and long chiffon skirt for Grade 6 and 7
CONTEMPORARY:
Black sleeveless bodysuit
Pink convertible tights (Mondor #314)
Foot thongs- tan in color
Hair is required to be in a ballet bun and if hair is short, neatly pinned and gelled back
CREATIVE A AND B:
Girls:
Pink bodysuit and pink ballet skirt
Pink ballet tights
Pink ballet slippers (elastic sewn across instep of slipper)
Hair must be out of the dancer’s face.
Boys
White short sleeved well- fitting t-shirt
Black shorts
Black ballet slippers with elastics
White ankle socks
HIP HOP:
Adult Hip Hop
loose comfortable clothing
clean indoor runners
Hip Hop and Boys Only
loose fitting t-shirts and pants
Clean indoor funky sneakers are encouraged. New “team shoes” will be purchased as
part of the costume.
Hats are optional
Hair must be out of the dancer’s face
Recreational Hip Hop
Loose fitting t-shirt, clean indoor runners
JAZZ:
Jazz (includes Pre-Jazz)
Girls
Black bodysuit
Light Tan Tights
Beige BLOCH brand—slip on/no laces–split sole shoes
Hair must be out of the dancer’s face - no jewellery
Jazz 3 and up plus Teen jazz girls may add a pair of SOLID black tight dance shorts (NO
STRIPES OR WORDS)
SR Jazz - Capezio Fizzion Beige shoes
Boys
White t-shirt
Black Jazz pants
Black BLOCH—slip on/no laces– split sole shoes
Recreational Jazz
T-shirt, shorts, and socks.
LYRICAL:
Black sleeveless bodysuit
Pink convertible tights (Mondor# 314)
Foot thongs- tan in color
Hair is required to be in a ballet bun and if hair is short, neatly pinned and gelled back
MUSICAL THEATRE:
Girls
Black bodysuit
Black jazz pants
Black BLOCH—slip on/no laces– split sole shoes
Hair must be out of the dancer’s face
Boys
White t-shirt
Black sweat pants
Black BLOCH—slip on/no laces– split sole shoes
Recreational Musical Theatre
Loose fitting t-shirt, clean indoor runners
TAP:
Pre-Tap/Tap 1/Tap 2/Tap 3/Beginner Tap
Girls
Black bodysuit
Light Tan Tights
All dancers require a pair of black tap shoes – Capezio 3800 black shoes or Bloch Mary
Jane
Hair must be out of the dancer’s face
Boys
black oxford style shoe
White short sleeved well -fitting t-shirt
Black shorts
White ankle socks
Tap 6 and up
Girls
Black bodysuit
Light Tan Tights
Capezio black oxfords tap shoes - preferred style Premiere CG09
Taps and rubbers are attached
Black shorts
Hair must be out of the dancer’s face
Boys
Black lace up oxfords
White short sleeved well -fitting t-shirt
Black shorts
White ankle socks
APPENDIX B
AUTHORIZATION OF CARD USE
MC#:
EXP:
VISA#
EXP:
I certify that I am the authorized holder of the credit card reference for this registration.
I certify that all the information above is complete and accurate.
I hereby authorize collection of payment for charges as indicated on my registration form. I
understand that if a payment by cheque is NSF, the fees for that cheque along with the NSF
charge of $45.00 may be applied to this credit card. Any outstanding fees not received in a
reasonable amount of time, may also be applied to this credit card. All accounts must maintain a
valid credit card on file (Visa/MC). If a new credit card is to be used or this card has a new
expiry, I will inform and authorize Airdrie Dance Academy by email.
CARDHOLDER NAME________________________________________ DATE ________________
APPENDIX C
How to Take Care of Dance Costumes
It is important to take good care of costumes.
Most students will try on their costumes during class; so that the teachers can make sure they
are properly fitted and include all the accessories needed for the performance. They may also
perform the routine in class with the costume at that time.
After it is determined that the costume fits properly and all pieces are included, make sure the
costume is stored carefully at home. It should be put in a safe place, inside where humidity and
temperature can be controlled. The best place would be in a closet, where it won’t be faded by
direct sunlight. Make sure there are no signs of water or mold in the storage area.
Do not clean or wash the costumes before the first performance because they may not
withstand the cleaning and may fade or lose their shape. Cleaning a costume can cause
noticeable damage that may not be easily repaired. Dancers should not eat or drink anything
but water while wearing a costume, so as to avoid stains. If, at the end of a season, the costume
needs to be cleaned, hand-washing is usually the best idea, or place the costume inside a pillow
case and run it through the gentle cycle in a washing machine. Do not iron a costume, as most
fabrics are too delicate and damage may occur easily. Steaming is the best method to remove
any wrinkles.
Costumes should be kept in a clear plastic bag. Wire hangers can leave marks or pinch costumes,
so place them on wooden or plastic hangers. Costumes should not be folded, so as to avoid
wrinkles and creases before performances.
By taking care of costumes before and after each performance, dancers can look their best and
enjoy their costumes for many years.
Tights
All tights should, ideally, be hand washed in cool water with a gentle detergent. If it is necessary
to wash them in a washer, they should be placed in a mesh bag before adding to the washer.
Use a gentle cycle, cool water and a mild detergent. Air dry away from direct heat - never place
in a dryer.
APPENDIX D
Performance Make-up Instructions
To begin your makeup, pull hair back away from you face so your bone structure and
features can be easily seen.
A junior performer usually is a preteen and can be as young as four years old. They
have smaller, more delicate features than their teen/adult counterparts. A lighter
application is necessary to keep them looking their age and not overpower their
features. In most cases, juniors do not apply their own makeup. A mother or an
assigned makeup artist will undertake this task, which can sometimes prove quite
challenging. Juniors are not accustomed to having someone poke around their eyes,
and hate sitting for any length of time! Mascara, liner and lipstick can prove particularly
difficult. Here are a few easy techniques that have worked to keep your junior looking
great and feeling more comfortable.
Just as for any makeup application, it is important to prepare the skin. Clean with a
face wash (soap is drying and can sting eyes) and follow with an oil-free moisturizer.
Teaching good skin care is important even at the youngest of ages especially for those
who perspire more heavily.
Shape and define brows to frame the eyes. The look of the brows is extremely
important for the young performer. Most juniors have messy brows because they are
not yet old enough to tweeze. Complete brow color before eye color. Fill in along
the center of the brow with brow cake on a pointed brush or use a brow pencil.
When you begin color application on the junior face do the eyes first.
smudging that occurs can be easily cleaned up after application.
Any debris or
1. After proper skin care using oil-free moisturizer to prevent shine from perspiration,
prepare eyelids if needed to even redness or discoloration, with oil free foundation.
Make sure to apply this across the entire lid next to the bridge of the nose and out
passed the end of the eyebrows lightly.
2. Always powder eyelid with oil-free face powder to create a dry canvas for shadow to
go on smoothly.
Tip: When applying anything to the lids it’s important to lift your chin up and lean in
close to the mirror. This way you have a full lid to work on and can see what you are
doing clearly. To shape brows first skip to Step 11.
Light Brown
Medium Brown
Dark Brown
Black
White
Dark Brown
3. Use an angled eye brush to Define and apply the dark brown shadow in first. With
eyes open, define the outer half of the eyelid blending up and over half way in, just
above the eye crease.
Tip: To find where your dark shadow should end and lift towards at the outer edge of
your eye, use the eyebrow technique. Hold a pencil pointing up at the base of the
nostril, passed the end of the eye, stopping at the brow end. Keep shadow aligned with
end of brow. Almond shaped eyes without noticeable eyelid should blend brown
shadow just above crease over 3/4th of the way in. Deep ebony skin tones or for added
drama apply Starry Night. This black shade is perfect for defining the outer eye corner,
blending into eye crease half way in.
4. Use the soft small rounded eye brush to balance eyes to cheeks to lips with medium
brown eyeshadow. With eyes open blend onto eye bone just above the dark brown
shade Intensity, from outer brow line to where brow begins. Be sure to blend out the
ending points of the color for a soft polished look. For interviews/auditions and outdoor
performances apply with a light hand to create a softer look. Deep skin tones will need a
stronger deeper pigment.
5. Highlight using the small flat rounded eye brush. Blend light brown/cream eyeshadow
onto inner half of the lid and up under eyebrow out to the temples. Use this color to
soften edges of medium brown and create lift to the lid and under eyebrow. Be sure to
get into inner eye corner to avoid shadows if you are not going to use the Shimmer Pot.
6. Add pop by applying shimmer pot in Goldlit (warm/brown or green eyes) or Ice
(cool/blue eyes), down center of lid, inner eye corner and brow arch.
Tip: This is especially important for those with smaller eyes or messy brows. A little
glitter either in Gold (warm), Silver (cool) or Crystalina (ethereal opal) down the center
of the lid and up under the arch of the eyebrow can add drama and glitz when wearing
rhinestone costuming.
7. To begin lining eyes, use a firm liner brush with a little water or Eyeliner Sealer to seal
on liner water-resistant. After brush tip is wet and excess patted off tip, stir into dark
brown eyeshadow. Line under low lashes starting at outer corner lining out towards end
of brow stopping parallel to eye crease. Do only outer corner for youth performers.
More mature faces, usually 10 years of age and up, can line below lower lashes half way
in towards inner eye corner, thinning line as you blend in. Line upper lid with black or
dark brown shadow, starting at the outer edge of eye slightly sweeping just beyond eye
crease, towards end of brow, then thinning as you line across the lid half way in.
Tip: Be sure not to meet lines in eye corners. Close your lines; close your eyes! Pencil
liners are not used for this job as they melt under heat and perspiration. Liquid liners
leave a very heavy line and are hard to blend. This method of lining is easy and always
looks professional. For shaky hands, brace your right elbow with your left hand to
support if you’re shaky. Stroke the brush from the outer corner inward. It helps when
applying any liner, to first look straight on into the mirror with your eyes wide open.
Apply liner with eyes like this first to see how the finished look will be. Remember
people see you with your eyes open not half closed. Always have a supply of Q-tips
handy for quick clean ups while liner is still wet crease. Open eyes using White Pencil in
between lines at outer eye corner. Our White Pencil is soft and creamy so it’s easy to
apply. Even open eyes more by using White Pencil on the lower eye ridge above lower
lash line.
8. Now prep the canvas which is very important to avoid uneven, shiny, blotchy looking
skin. Make sure under eyes are clean of eye shadow (try non oily eye make-up remover
pads) and moisturized. Apply foundation in a yellow/golden undertone to correct facial
redness from performing. Apply to center of forehead, down sides of the face to cheeks,
to sides of nose and around nostrils, around the mouth and onto lips, chin, jawbone,
then finally blend out what’s ever left onto throat. Blend in with clean fingers gently
using downward strokes. The hair on your face grows downward so this method gives
you the smoothest, most even coverage. Youth performers (under 10 years of age) still
need foundation, concealer and powder. The forehead, cheeks and chin are most
important to control facial redness. Not applying the canvas will create a blotchy face on
stage.
9. Next step is the concealer. For professional make-up application use a small synthetic
flat brush, a clean eyeliner brush or a clean lip brush to apply the concealer over key
dark areas. Look for shadows by the inner eye corners and under eye darkness. Most
concealers contain oil so never use these on a blemish. Cover facial imperfections with
an oil-free blemish concealer.
Tip: Choose a color slightly lighter than your foundation. About ½ a shade lighter.
Concealer is applied after foundation due to the fact that foundation melts the
concealer when applied on top taking away some of the coverage. This important for all
ages! Foundation should be 2 shades darker than the skin tone.
10. Set the canvas with loose face powder. If prone to shine, choose an oil-free loose.
Using a powder brush tap excess powder into lid then blend powder across
foundation in downward strokes to set. Do not apply much powder under the eye area
due to the potential for dryness and creasing.
Tip: For a super set apply powder to a puff or cotton square and press powder into
foundation gently all over to set. With a clean powder brush buff off excess powder and
smooth out the finish.
11. Brows are the frame to the masterpiece. Some make-up artists like to apply brows
after the canvas has been prepped. That means after foundation, concealer, and
powder. The reason for this is foundation and powder can get into the brow hairs and
will need to be groomed out. For the same reason mascara and lashes are applied after
too. Preparing the brows after the canvas prep gives your brows maximum definition
and shape. There are two choices of brow defining tools. The dry cake color and the
pencil liner color.
Tip: The dry cake color requires a small angled brush or a pointy brush to apply color.
These are good for making brows look thicker. The pencil liner can shape, define and fill
in bare areas but should be brushed out a bit to look more natural. Brow brushes blend
color into the brow hair and kind of shred the liner color making it look like hairs. Some
dancers who want their brows to appear thinner, draw a line one shade darker than
their brow through the brow center. On stage to create an illusion the brows are thinner
than they really are, blend foundation over outer edges of brows.
IMPORTANT: Use a brow pencil liner not an eye pencil liner. Brow pencils feel
harder than eye pencils because of the higher wax content. That extra wax gives
the color staying power for a no smudge, no run super hold. If the pencil you
have
feels so hard that color isn’t coming out, warm between your fingers or under
hot
running water for a minute to warm the wax up.
Tip: Brow color choices should be in the same color range as your hair color. If
you are very blonde, choose a color one shade darker than your hair color. In
general it is a good idea not to choose brow colors with a lot of red or orange in
them. Unless you are a very red, red head, under bright stage lights these tones
can wash you out.
12. Lips are the key to balancing your facial features. Begin with a freshly sharpened lip
pencil a shade darker and browner than your lipstick. This will help pull in the sides of
the mouth so when the lipstick is applied the brightness will pull the lips forward
creating a fuller effect. Line lips with lip pencil in a red/brown like Sienna (warm) or a
burgundy/brown like Rum Raisin (cool). Line lips along their outer edge, be sure to bring
out the sides of the mouth and fill in onto the lip about half way.
Tip: Fill in lips with lip pencil to increase lipstick last. Lip pencils have wax in them,
which increases staying power on the lips. When lipstick starts to fade the lip pencil
remains underneath providing color. Draw your lip pencil on by looking one step ahead
as your draw. Kind of like riding a bike or driving a car. Line with lips closed. Corners
are easier to see and lips stay in place.
13. Lipstick gives life to the lips and the brightness pulls lips forward creating fuller
looking lips. Colors that look best on stage are true reds like Stage Red which goes with
all costuming. For a more natural looking red tone try a sheer shade which is less
overpowering on the mouth especially for a more youthful performer. For a polished,
professional, more even and defined lipstick application, use a lip brush, it keeps the
lipstick in place much longer and really does make a difference.
Tip: For super staying power apply lip liner, then lipstick, blot lips with tissue and with a
powder brush, brush loose powder over tissue. The powder helps the tissue to pull out
excess oil and seal color.
14. The only way to create a fuller show stopper lip, is with a lip highlighter on the
center of your lips. This is a sparkly or shiny highlighter applied just at the center of the
upper and lower lip to add fullness.
15. Cheek color is for creating bone structure and adding life or flush to the face.
Applying cheek color last will prevent using too much. Start with contouring. A brown
color with a hint of pink which makes it neutral. This shade is not used to add color but
to define your bone structure as well as to shape your cheek bones. Feel with your
finger along the underside of your cheek bone. Start by applying our cheek Contour
shade, using a cheek brush starting at the center of your ear and blending along the
bone, towards the base of your nostrils. Place three fingers pointing up next to the base
of your nostrils. As you are blending down along your cheek bone stop two fingers out
from your nose. Shade along sides of nose and forehead. High foreheads can benefit
from contouring along hair line. To flush. Use a cheek brush and before applying color,
tap off excess on tissue. Apply sparingly to the apples of the cheeks and slightly up onto
cheekbones in a teardrop shape.
16. Finish with mascara. If you choose to wear false lashes, mascara is applied after
lashes have been secured. For a very high-energy performance, when perspiring and
extreme athletic movements are involved, mascara alone is the best choice.
Perspiration loosens false lashes and they can be knocked off with a lot of athletics.
Instead of the extra worry of your lashes, not to mention your sight, use 3 coats of
mascara to open eyes. Apply black mascara no matter what your hair color is.
Tip: For more open eyes always curl lashes first. Curl once toward the inside lashes and
then again focusing on the outside lashes. Before you apply mascara, wipe the wand
with a tissue to clean off excess mascara that could cause clumping (a big difference
when applying so many coats). Do the bottom lashes first keeping the brush on its side
and rubbing back and forth. Go to the top lashes and do the same, starting at the base
(roots) of the lashes and rubbing side to side as you work out to the end of the lashes.
The side to side rub separates lashes and helps to distribute the mascara evenly. A lash
comb is helpful to have just in case of clumps and is very useful when using false lashes
too.