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Books > Language & Literature > Literature: texts > Drama texts, plays
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Photographic Make Up (Hardcover, 2nd ed.)
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Photographic Make Up (Hardcover, 2nd ed.)
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PHOTOGRAPHIC MAKE-UP HARRY ROY Photograph by the Author
PHOTOGRAPHIC MAKE-UP By JACK EMERALD Associate Institute of British
Photographers Associate Royal Photographic Society FOUNTAIN PRESS -
LOJtfDON CONTENTS Page Foreword by MAX FACTOR, JR 9 Introduction .
. . . . . . . . . . . - - 13 Section One BASIC MAKE-UP TECHNIQUE
Make-up for Women . . . . . . . . - - 17 Technique of Application .
. . . . . . - 17 Application of Foundation Make-up . . . . . . 18
Pan-Cake Make-up Foundation . . . . - - 19 Pan-Stik Make-up 19
Highlighting . . . . . . . - - 20 Eye-shadow . . . . . . . - 21
Powdering . . . . . . - . . - - 22 Re - shaping Eyebrows . . . . .
. - . - - 23 Lip-Colour and Its Use . . . . . . 23 Mascara and Its
Use 30 Make-up for Men . . . . . - 31 Section Two CORRECTIVE
TECHNIQUE Face Shapes . . . . - 35 Re-modelling Triangular Face
Contours . . . . 36 Foundation Colour for the Triangular Face . . .
. 37 Re-modelling the Inverted Triangle Face . . . . 38
Re-modelling the Round Face 42 Re-modeElng the Square Face 42
Re-modelling the Chin - - - 44 Re-styling Eyes 45 Re-shaping the
Nose . . . . . . . - 50 Making up the Lips . . . . . . . . - 52
General Points for Lip Re-styling 54 Removal of Wrinkles . . . . .
. . . . . 54 Summary . . . . . . - - - - 57 Section Three CHARACTER
MAKE-UP Crepe Hair 61 Applying Hair to the Face . . . . . . . . 63
Creating a Beard with Crepe Hair . . . . ., 63 A Most Exacting
Example . . . . . . . . 68 A Make-up Expert 69 Reconstructing the
Facial Structure . . . . . . 76 Partial Reconstruction . . . . . .
77 Creating Old-Age Effects 77 Old-Age Make-up . . . . . . . . - -
77 Flexible Collodion 80 Non-flexible Collodion 80 Collodion and
Cotton Wool Make-up . . .. . . 81 Creating Scars and Wounds . . . .
. . . . 90 Indian Make-up . . . . . . . . . . . 91 Bald-Head
Make-up 94 Chinese Make-up . . . . . . . . . . 95 Max Factor
Make-up Chart for Black and White Photo graphy . . . . . . . . - .
. . 96 Section Four MAKE-UP IN COLOUR PHOTOGRAPHY Corrective
Make-up . . . . . - - - 99 Application of Make-up for a Colour
Photograph . . 101 Applying Eye-shadow . ., . . . - 102 Applying
Cheek Rouge .......... 104 The Use of Powder .......... 104
Completion of Eye Make-up . . . . . . - - 105 Re-styling the Lips
.......... 106 Max Factor Make-up for Colour Photography . . 108
Section Five CLINICAL MAKE-UP Facial Disfigurements . . . . . 109
Make-up Treatment .. .. . - HO Treatment of Birthmarks ........ HI
Treatment for Other Skin Conditions . . . . - . HI INDEX The Author
gratefully acknowledges the help he has received from many sources,
with special thanks to MAX FACTOR LIMITED, HOLLYWOOD AND LONDON
UNIVERSAL-INTERNATIONAL FILMS OF AMERICA GENERAL FILM DISTRIBUTORS
CENTRAL OFFICE OF INFORMATION CROWN FILM UNIT CINEGUILD LIMITED B.
B. C. TELEVISION SERVICE GEORGE BLACKLER, Esq., P1NEWOOD STUDIOS
ERNEST TAYLOR, Esq., EALING FILM STUDIOS ERIC CARTER, Esq.,
PINEWOOD STUDIOS THE professional photographer has long been aware
that the advantages of the art of make-up can apply to portrait
photography as much as to cinematography. But many amateur
photographers are not so cognisant of how skilled practice in
make-up can greatly increase the excellence of their own portrait
photography. Or, even if they are conscious of these advantages,
they tend to overestimate the difficulties involved in making up
their pictures subjects. The result is that they continue toignore
the possibilities of make-up. Make-up must begin where nature has
left off. Com plexions and facial characteristics diffei, and every
individual presents a different problem. The function of make-up,
in photography of any sort, is to fit the face dramatically for the
part or pose to be portrayed. In motion picture work, this
regularly presents an interest ing challenge to the make-up artist,
and it can offer an equally inspiring one to the photographer...
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