By Beverly Gore Norcross, James Glavan, Richard Corson
Publish 12 months note: First released in 1942 by way of Pearson
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Widely often called the “bible of level makeup,” the well timed revision of this vintage textual content addresses rules and strategies within the use of make-up for the modern performer. This wide exploration of the appliance and use of level make-up and make-up for a number of functionality venues covers all facets intimately and comprises over four hundred pictures, drawings, and diagrams demonstrating step by step systems. completely up-to-date and revised, this vintage textual content is still actual and finished, supplying details from which all readers – even if scholars to the sphere or professional, expert make-up artists – will profit.
New to this version:
• up-to-date images all through. positive factors the most recent details on items and strategies all through.
• New additions to chapters pertaining to hairpieces and wigs: creating a trend for a beard and mustache, creating a trend for a wig, fronting a wig, or sending exact details for leases, and the elemental curler set for wigs.
• The resource Appendix has been absolutely up-to-date with new owners and the newest web site addresses. The fabrics Appendix has had the most up-tp-date items additional.
• There are new, clean make-up charts for sophistication paintings and designing makeups.
• there's a colour consultant for a two-part silicone existence forged.
• the hot colour part that includes Academy Award nominee, Christien Tinsley, steps for the Tinsley Transfers for cuts, bruises and prosthetics. (As noticeable within the motion picture the eagerness Of The Christ.)
A collection of make-up in colour with whole directions. colour pictures of Academy Award winner, Matthew Mungle, lighting tricks make-up for the CSI tv convey. directions for a brand new “creating a likeness” of Queen Elizabeth I. The movie and tv bankruptcy now comprises information regarding operating with the most recent HD electronic know-how. the colour part now contains a sequence of images illustrating the results of gel colours on ordinary make-up.
Read or Download Stage Makeup (10th Edition) PDF
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Extra info for Stage Makeup (10th Edition)
Sample text
FIGURE 5-4 22 S TA G E M A K E U P discussion it can be considered as including all ages between forty and sixty-five. But remember that in earlier times middle age came much sooner. In any case, it is the apparent rather than the actual age that is important in makeup. Age can, and too often does, bring with it changes in the color of the skin and the hair: sagging muscles, hair loss, and an increasing angularity in the lips, eyebrows, and cheeks, but the exact nature of these changes will depend on factors other than age.
It is then more important than ever that ways of distinguishing among the characters be found. This means finding the most revealing ways in which character might be expressed and use these to help develop individuality in the makeup. Health In most cases a character’s state of health has nothing to do with the play. But sometimes, as with Mimi or Camille, there are noticeable changes that are important to the characterization or the plot. At other times, as with Elizabeth Barrett or with Laura in The Glass Menagerie, there is no specific illness, just a state of delicate health.
The problem of becoming familiar with the specific effects of the vast number of possible combinations of light and makeup is a far from simple one. It is impossible to offer a practical panacea for all of the problems you may encounter. A chart could be made, but it would be inaccurate, for not only do exact S It was mentioned briefly in Chapter 3 that pigment depends for its color on the light that illuminates it. In other words, trees do not appear green at night— unless, of course, they are artificially illuminated.