American cinematographer (Jan-Dec 1955)

MODEL removing all her make-up. Note how face is without expression, eyes are dull, lips indistinct. SAME MODEL with properly applied motion picture make-up, resulting in glamorous appearance — and a decided transformation. SAME MODEL with different make-up and blonde hair — with the make-up properly chosen to harmonize with the latter. possible. This has resulted in colors with more light-reflective qualities than ever before. The colors today are very clear, very clean, ranging from soft light-amber-pink through the tan tones, with each of the colors having a delicate rosy undertone. “Consider, too, the color of make-up foundations from the viewpoint of color balance between the man and the woman. If the woman is made up extremely light and the man very dark, on the screen the variance in complexion tones will be so obvious as to be disconcerting to the viewer. Selection of foundation colors which are closer together in depth will give a better balance to the skin tones of the man and woman. The average director of photography is well aware of this, because it is most difficult to light two people with extreme divergence in complexion tones.” TO CREATE a clear, salin-smooth complexion tone, pancake make-up should be applied with a soft sponge. “What about the technique of make-up application?” we asked Mr. Factor. “Make-up, incorrectly applied, will destroy the perfect ef¬ fect you wish to achieve,” he said, “even though the proper selection of colors has been made. Never apply foundations so heavily as to completely conceal the texture of the natural skin. A heavy application of foundation will result in a mask like appearance. High-lights and shadows, used to correct facial proportions, must be blended very delicately so that each color fades naturally into the foundation color. Usual¬ ly, a color two shades lighter than the foundation is sufficient for a highlight; and for shadows, a color two shades darker. A fine natural sponge or a flat sable brush are better appli¬ ances to use for blending purposes than the finger-tips. "Cheek rouge, as we have said, must be pastel in hue and it must never contain blue. It is always blended to a soft blush tone for current films. Eyebrows should be pencilled with tiny hair-like strokes to simulate the real eyebrow hair. A solid, continuous line should never be used. Perfection in make-up application is the rule to be particularily followed here. "Because blue is a problem with most color negatives, but especially with Eastman, blue eyeshadow is not used except for cartain special effects. A gray or brown eyeshadow, or a combination of the two, is used today. These colors will give a natural eyeshadow effect. The application must be very delicate, and the edges blended until the color fades away. “Women’s eyes may be made to appear larger by out¬ lining the eye with an eyebrow pencil. The color brown is almost always used and the line is blended to a shadow. The line must be drawn as close to the base of the eyelashes as possible. This will give the desired effect and, too, will serve to prevent the eyes from appearing red-rimmed due to light glare or fatigue. “Eyelash make-up is a must for all women appearing be¬ fore the camera and false lashes may be worn where indi¬ cated. These lashes are always trimmed and shaped to give a natural effect. “Lip rouge is best applied with a lip brush. In this man¬ ner a perfectly sharp outline is achieved, giving a clean, shaped lip-line without a feather edge. Lip rouge should be blotted with tissue at least once after applying to the lips, ( Continued on Next Page) American Cinematocrapher September, 1955 527