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...

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...