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Making Folks Over
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Wigs are fragile and for screen plays in which many are used, a wig repair man is at hand. Wigmaking is a
separate craft. Most make-up men can make a good wig in an emergency, but normally the best wigs are created by men and women who do nothing else. As in the placing of a beard on the face, the expression of art in a wig is the placing of the strands of hair into the meshes of the wig cloth so that they lie exactly as would real hair.
To make-up experts the items on their daily order sheets are simple routine. The following is no unusual excerpt from such orders: "Make-up for tomorrow: two Chinese fan-tan dealers ; six policemen with handlebar mustaches, yintage of 1902; a Filipino murderer; an old woman with one eye. . . ." Make-up is an essential tile amongr the hundreds combined into our motion picture mosaic.
With no intention to seem derogatory in any sense to the operators of a beauty shop, we remind our readers that there should be no confusion between the workers in a commercial beauty shop and a skilled film studio make-up artist. The beauty shop operator need only enhance beauty already present, or distract attention from facial faults. The make-up artist must know sculpture. In fact one of the leaders of this new profession was a sculptor of reputation for years.
The make-up man must haye the equivalent of a college postgraduate's knowledge of chemistry, for with special formulas he literally molds a new face over that of an actor. He must know as much about lighting and photography as a cameraman, for if he mistakes the
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