BACKGROUND NOTES:
To actors, the smell of greasepaint is one of the exciting preludes to performance. Ideally, actors should learn to
apply their own makeup. They can then project their personal ideas of the character’s facial appearance,
obtaining help from the makeup crew only on elaborate or difficult jobs.
Certainly you should observe faces of people around you, as well as scrutinize the untouched photographs of
individuals in magazines. Make mental notes of facial characteristics, contours, and coloring. To assist you in
learning about faces, keep a makeup morgue, or a file of picture clippings showing various people and different
age groups.
INFLUENCES ON MAKEUP:
Whether you are working on yourself or other actors, the type of makeup you do for each role depends on five
aspects: actor, character, play, theatre, and stage lighting.
ACTOR: Since every actor’s face is individual, modify makeup to fit the actor’s particular bone
structure, eyes and coloring. If the actor looks almost like the part being played, apply straight makeup. If the
actor must change appearance to look like the part [older, fatter, thinner, younger], character makeup is
applied.
CHARACTER: The role itself provides clues to makeup. A character’s age, health, occupation,
personality, and attitude must be reflected in makeup. For example, a young character who plays tennis
everyday should have a ruddy or tanned face to look like an athlete.
PLAY’S STYLE: The play’s style also determines makeup. If the play is realistic, makeup should look
natural to the audience. If the play is a fantasy, or if it is symbolic, you may use limitless imaginative makeup to
heighten certain features or to obtain special effects. Unusual colors, strange eyebrows, unique wrinkles and
shadings may all be part of unrealistic makeup.
THEATRE SIZE: The size of the theatre has a great effect on makeup. If the distance between actor and
audience is slight, as in arena or thrust theatre, makeup must be subtle. When the theatre is large and the
audience is 100 feet or more away from the actors, makeup must be stronger and bolder if the actor’s features
are to carry. Of course, it is impossible for makeup to appear the same in all parts of the house. The makeup
artist compromises by obtaining an acceptable effect in the first few rows, while yet assuring reasonable
projection to the back rows.
STAGE LIGHTING, AMOUNT AND COLOR: The makeup artist should also consider the amount of stage
light. Strong lights fade facial color. If you were to stand on stage under strong light and without any makeup,
you would look completely washed out. In order to project your natural coloring to an audience, males and
1
females alike must have a tinted foundation, some rouge, and darker eyebrows. Besides the amount of stage
light, the source of light is important. Since we are used to the overhead light of the sun and to the shadows that
it creates, any deviation appears strange to the audience. Therefore, the makeup artist must replace the normal
sun shadows.
Colored lights also affect makeup. Even though today’s lighting technicians often use light pink and light
lavender lamps, there is usually more yellow in stage lights than in the sun’s rays. To compensate, makeup adds
the necessary red tints to the complexion, cheeks, and lips. Since stage lighting varies in each show, you must
check all makeup under actual lights and experiment until you obtain the desired effect. Remember, colored
lights dim similar colors on stage and completely darken complementary colors.
GENERAL PRINCIPLES OF MAKEUP APPLICATIONS
Now that you have seen how makeup varies according to actor, character, play, theatre, and lights, let us state
the two general principles of makeup application
1. Always follow the basic lines, shadows, and highlights of the face you are making up; and then modify
according to the character, play, theatre, and lights.
2. Lighten areas that you want emphasized and darken those that you want subordinated.
MAKEUP NECESSITIES
You will soon learn to apply these principles, but first you must equip yourself with the proper materials.
In the United States and Canada theatrical makeup is available from Stein, Nye, Kelly, Factor, Mehron, and
Leichner. All have good products and many makeup artists patronize all. However, since each manufacturer
numbers colors differently, it is usually easier to buy makeup from one company so that you become acquainted
with their colors and identifying numbers.
If possible, for sanitary reasons you should have your own individual makeup kit. Many actors outfit a metal
fishing box or tool chest; or you may purchase a small student makeup kit from most of the makeup companies.
If your school has its own makeup kit, your instructor may allow you to use it for classroom practice. A word of
caution. Makeup is expensive, so avoid being wasteful. Use only what is necessary and always replace lids
tightly to prevent makeup from drying out.
The following list contains essential materials and basic colors that you will need in your makeup kit. For a list
of all available colors, consult the catalogues of each makeup company.
FOUNDATION OR BASE –
Gives the basic color to the face, neck and ears, and when necessary to the arms, hands, and legs.
Foundation colors suggest, race, physical condition, age, and environment. There are four types of base:
1. Crème makeup, in a stick or a jar, is preferred for its ease in blending and use with liners;
2. Soft greasepaint, which comes in tubes, is economical and blends well, but does require more powder
touch-up than crème;
3. Pancake, which is a water base in cakes, is applied with a damp sponge, so it washes off easily; it is
harder to blend and mix and to use with liners, and melts under strong lights.
2
4. Liquid [sometimes called body makeup] comes in bottles, and is used for covering arms and legs.
In crème and greasepaint you will want four basic colors: light, medium, dark red and yellow brown. You can
mix these in the palm of your hand to obtain many other useable shades.
LINERS OR SHADING COLORS –
Give the face a three-dimensional effect by providing shadows and highlights. The highlights or light colors
advance and make areas seem larger; the dark colors or shadows recede and make areas appear smaller. Basic
liners are brown, maroon, white, blue, and gray.
ROUGEHelps to suggest age and physical condition. You will need moist rouge for applying directly on top of the base,
and dry rouge for touching up after powdering. Choose medium-red in both moist and dry rouge, as well as a
moist reddish-brown for men’s lips.
POWDERSets the greasepaint so that it won’t smudge. Choose a shade lighter than the base, or use a neutral tone you can
apply over any base.
EYEBROW PENCILS –
Darken eyebrows and provide eye lines. Use either medium or dark brown. Avoid black; it looks hard and
artificial.
POWDER PUFF AND BRUSHApply powder with the puff and use the brush [a soft baby brush will work] to remove excess powder.
LINING BRUSHESUse sable brushes to apply fine lines and wrinkles. Buy size 3/16 and 3/8 or ¼ inch brushes for blending.
COLD CREAM AND FACIAL TISSUE
Use for removing and wiping off makeup [hint: baby wipes work great!]
ADDITIONAL MAKEUP MATERIALS
In addition, the class should have the following available.
1. NOSE PUTTY – to make three dimensional changes in the face, such as a different nose, a scar, etc.
2. WOOL CREPE HAIR [for men] – to make mustaches, beards, and sideburns. Crepe hair comes in yard
length braids. Purchase gray-brown, light gray, and a color to match your own hair.
3. LIQUID LATEX – to mold beards so that they can be reused.
4. SPIRIT GUM – fastens the beard to the face.
5. RUBBING ALCOHOL OR ACETONE – removes spirit gum from the face.
3
6.
LIQUID HAIR WHITENER OR WHITE SHOE POLISH –
7.
8.
9.
LARGE MIRROR
to gray the hair and eyebrows. Apply with an old
toothbrush. Whitener and most shoe polish easily wash out of the hair.
SCISSORS – for
cutting crepe hair.
MASCARA – to accent eyelashes.
GUIDELINES FOR APPLYING STRAIGHT MAKEUP
The purpose of straight makeup is to make actors more attractive or handsome by accenting their own features
while overcoming any facial defects they may have, such as a face that is too long or a nose that is too short.
The following is a guide for applying straight makeup.
1.
2.
3.
4.
5.
CLEAN YOUR FACE.
Remove all street makeup with soap and water or cold cream and tissues. If you use
cold cream, make sure it is completely removed before applying stage makeup. Also use a toning
astringent to obtain a clean dry face.
APPLY THE BASE. Use either crème or water- soluble foundation in a color close to your natural skin tone.
Crème, which comes in round plastic containers, blends well, holds up well when the actor sweats, and
can be reworked until finally set with powder. Water-soluble foundation, also called cake makeup, is
applied with a damp sponge, but washes off easily, and is harder to blend. Most students usually find
crèmes easier to manage. Whichever you use, just be sure that the makeup you apply has a formula
similar to your foundation. Dab the base in a few spots on the forehead, nose, cheeks, chin, and jaw.
Spread the base over your face with fingers or with a damp, silk sponge. Keep a light touch, applying the
base on, no into, the skin. Blend from the center out in a smooth, even effect. Work up to the hair line,
being careful not to coat the hair. Then cover your ears and entire neck with base.
SHADOW AND HIGHLIGHT THE FACE. This is called modeling. For straight makeup you will want to
shadow the areas that are too prominent and highlight those areas that need emphasis.
 The cheek hallows are shaded to give them dimension.
 Shadow below the jaw line to make it stand out from the face and neck.
 Add shadow to the crease above the eye to give the eye socket more dimension.
 Shadow the sides of the nose so it doesn’t flatten.
 Highlight directly under the brow to counteract the effects of overhead lights that tend to
create hollows in the socket.
 Add highlights to the cheekbone to balance the shadows you added to the hollow of the
cheek.
 Create subtle highlights down the ridge of the nose.
 Add subtle highlights to the chin area.
APPLY ROUGE. Use sparingly, because rouge goes a long way. Dot the rouge in a triangle shape, usually
at the highest point of each cheekbone. Blend with the finger tips toward the eyes, temples, nose, and
jaw. The color should be strongest on the cheekbone and should grow weaker as it moves away until it
blends unnoticed into the base. There should not be a sharp delineation. For a healthy glow, males
should carry rouge farther into the temples than females, and further down the jaw.
ACCENT THE EYES. We’ve already shadowed the crease and highlighted the brow bone; now using an
eyeliner pencil [which has a thicker form of creme], we will continue to define the eyes. Starting at the
outside of the eye, draw a fine line along the roots of the lower lashes with a dark brown pencil or cake
4
liner. Do not use black, as it looks hard and artificial. On the upper lid, start at the inside corner [by the
nose] and follow close to the lashes, extending the line about ¼ inch beyond the outside corner. The
bottom is the most important. On the lower lids, start the line at the outside and fade the line off at the
middle of the eye. Do not go all around the edge. Apply one or two coats of brown mascara to all the
upper lashes and to the outer portion of the lower lashes.
6. ACCENT THE EYEBROWS. If necessary darken your eyebrows to make them more visible. Using a medium
or dark brown pencil, apply short feathery lines drawn in the normal direction eyebrow hairs grow.
Eyebrows should extend ¼ to ½ inch beyond the eye to frame it properly. The heaviest color should be
near the center, with the brows tapering at the outer end. Keep the effect soft and natural looking.
7. ACCENT THE LIPS. Females should use lipstick made for stage use in a shade that matches their rouge. For
a clean line, apply lipstick with a personal lipstick brush. To make lips smaller, draw the new shape
using red lip-liner pencil. Then apply foundation and powder over the part of the lip you are eliminating.
Men can either softly outline their lips with a brown pencil or apply brownish-red moist rouge that they
gently wipe off, leaving only a suggestion of color.
8. APPLY THE FINISH. Use a powder puff to apply a thin dusting of translucent powder over the face.
Remove excess powder with a powder brush. If necessary, touch up your cheeks and eyelashes.
Only amateurs appear outside the theatre in stage makeup. AS soon as the play is over and curtain calls are
complete, remove crème makeup with cold cream and facial tissue followed by soap and water.
GUIDELINES FOR APPLYING CHARACTER MAKEUP
The techniques for applying character makeup are more complex and time-consuming than those for straight
makeup. Following are suggestions for the most common character makeup effects.
1. THE EYES AND BROWS. With the use of shadows and liners, you can make the eyes appear larger, often
indicating eagerness, innocence, or exuberance. You can make eyes appear sunken for an evil or
threatening look. Eyebrows, as a natural frame to the eye, can do a lot to establish character. Changing
the position or size of the eyebrows will create a character. To change the shape, you must first mask out
all or part of your own brow. Block out and highlight your natural brows with foundation, or rub them
with a cake of very wet soap. When they are dry, apply foundation over them and draw new brows in the
desired position. Crepe hair, can be added to make brows bushier.
2. THE NOSE AND MOUTH. You can vary nose proportions with shadow and highlighting, or you can create a
three-dimensional change such as a large, upturned nose with putty wax [also called derma wax or nose
putty]. Prepare the putty by gently kneading it with your fingers until it is soft and pliable. Next apply
spirit gum adhesive to a clean area of the nose. Embed a few fibers from a cotton ball into the spirit gum
to create a rug to hold the wax. Form the wax into the desired shape using the back of your thumb and
place it to the shape of your nose. Smooth out the edges until they blend into the face, and cover the wax
with makeup as needed. This may take a bit of practice. Use hair gel to smooth the overall surface. To
remove the nose, pull a thread tight and run it along the area under the wax.
3. SCARS. To make a fresh scar, build up the center of the scar in an irregular shape with putty wax or tissue
and liquid latex. If a healed scar is desired, apply three to four coats of nonflexible, or rigid, collodion, a
clear, thick liquid, directly to the skin, drying between each coat. Collodion will give a drawn, indented
look. Collodion can irritate the skin, so be very careful and try a small test patch first. Remove collodion
5
with acetone, which can be found in common nail polish remover. Follow the cleaning by applying skin
moisturizer.
4. MISSING TEETH. To make teeth look like they are missing or broken, use black tooth enamel or black
tooth was directly over the teeth.
5. STAGE BLOOD. Below is the standard recipe for stage blood:
RECIPE FOR GORE
One 16 oz. bottle of corn syrup
One tablespoon red food coloring
¼ cup liquid laundry detergent
Blue food coloring [unless the detergent has a blue cast]
 Mix the first three ingredients in a jar.
 Add blue food coloring one drop at a time to achieve the desired color.
 Shake well before using.
 Keep jar tightly shut between uses.
6. AGING A FACE. As people age, the flesh sags around the bone structure. Wrinkles form, the texture of the
skin changes, and the contours of the face shift and sag. All of these features can be reproduced on
young actors through sculpting in the contours that begin to form using highlights and shadows.
Remember that age occurs gradually. When applying makeup, you must guard against making yourself look
older than your character actually is. If you are playing someone who is forty or so, you will need different
makeup than playing someone who is over sixty. To look in your forties, apply darker rouge lower down on
the cheeks to indicate the beginning of sagging facial muscles. Shadow softly in the eyebag area. Begin a
soft shadow in the crease that runs from your nostrils toward your mouth [the smile line]. Use less lipstick if
you are female and brown liner if you are a male.
To appear in your fifties or sixties, increase the darkness of the sculpted shadows under the eyes and smile
lines, follow this by adding wrinkles, which should accent the natural lines on your face. Frown and then
smile, or make characteristic expression, and then outline the natural wrinkles that appear with liner. Break
up the texture of your skin by stippling the surface slightly by using a sponge and a darker base color.
Eye pouches should be more pronounced the older the character. Indicate facial hollows and sags with
brown shading and subtly highlight them with white.
Emphasize wrinkles in the forehead, around the eyes, and from the nose to the mouth. Gray the hair at the
temples, and add a few gray streaks elsewhere for more aging. Apply gray to eyebrows also.
CREATE A VERY OLD FACE.
1. Apply a pale crème foundation – lighter for a frail character and darker for a healthy character.
2. With the fingertips and brown liner, add soft shadows to
a. Eye sockets
b. Indentions below the cheek bones
c. Hollows at each temple
d. The corners of the mouth
e. The sides of the nose
f. Under the jaw and chin
g. The depressions on both sides of the throat.
6
3. Using off-white liner for highlights above each shadow, apply soft highlights to the bone
a. Over each eyebrow
b. In each cheek
c. At the point of the chin
d. Along the line of the lower jaw
e. At the throat
4. To further define wrinkles, use brown liner to create them where they naturally form
a. On the forehead
b. Between the eyebrows and outer eye corners [worry lines and crow’s feet]
c. In the smile lines from the nose to the corners of the mouth.
5. With off-white liner on a brush highlight below the wrinkles.
6. With the fingertips, blend the edges of the highlight, shadow and base.
7. Thin the lips using a dark reddish color. Stipple rouge, and apply texture [i.e. liver spots] if desired.
Allow a thin portion of the natural lip to show.
8. Whiten hair and eyebrows. Make eyebrows bushy by brushing them the wrong direction. Apply
whitener at temples as desired.
9. Powder crème makeup.
7