Makeup Design for Film & Television Curriculum

This course provides both an historical and current context of the Make-up profession by introducing students to the many different fields within makeup artistry. Exploration of stage, film and television history, and the history of makeup art – mostly via lecture, visual imagery and film clips - will provide relevance and fluency to the lexicon of the production environment the student is about to enter. It also focuses on developing the practical research skills that students must have in order to be a working makeup artist. Other subjects covered include the development and significance of cosmetics throughout history, and the evolution of makeup artistry within 20th century Hollywood films. The effect of evolving film stocks, digital cameras and lighting from the 20th Century is also studied through various film clips. Additionally, student make-up kit distribution will also cover current product knowledge.

This course lays the groundwork for all future Corrective, Beauty and Glamour makeups. It introduces the students to the fundamentals of corrective application, product and equipment choices and then develops their “eye” to discern the needs of each particular performer and bring shape and form into aesthetic balance. Extensive written and visual reference materials reflecting current industry practices are also supplied to students. This course also familiarizes the students with the basics of facial anatomy in terms of bones and muscles. Students also develop an understanding on how to safeguard the performers skin.

This course introduces students to Adobe Photoshop for Makeup design use. Experience with this software can be invaluable as it streamlines the design and approval process. Students will learn the basics of the interface and solid skills like painting on layers, creating selections as well as basic color adjustment culminating in a design assignment that features character work.

This course introduces the student to creating a specific character and communicating that idea through beauty make-up. They learn common glamour techniques including false lash application and ‘smoky eye’ blending, as well as more advanced fashion based classes that allow them to creatively explore various forms of beauty and contemporary fashion.

Here we introduce the students to the ‘language’ of the film set and give broader scope of the makeup artist’s duties, introducing them to the concept and importance of continuity. This course also serves to integrate the students with people from other departments (FILM, ACTING). Field trips to industry suppliers expands the students product knowledge, and educates them in how to shop wisely. Film and television set etiquette and mechanics are introduced in preparing to participate in film shoots.

In its most basic sense, Visual Art exposes the students to color theory and technique using mediums outside of makeup application; sketching, water color and oil. These classes serve as the first foundation of paintwork for prosthetics also. Using the mediums of oil painting and water color, the course encompasses the following subjects: highlight and shadow, color theory, and portraiture. Airbrushes are distributed as part of the student kits and practiced first with paper exercises before moving to makeup application on models.

Glamour & Fashion 02 introduces the students to the evolution of make-up styles throughout the 20th century. These classes further refine the students understanding of creating “period” character. The developmental history of makeup styles and their influences are closely examined. It also has application to communicate an idea in a way that meets the expectations of the fashion industry. Makeup for black and white photography, bridal makeup, and runway makeups are also explored.

Advanced digital painting techniques are studied as students work on a creature design. Additional color correction techniques to use on their portfolio photos are practiced. The course ends with a one on one “photo review” to see the students progress with makeups, photography, lighting and color correction.

In its most basic sense, Visual Art exposes the students to color theory and technique using mediums outside of makeup application; sketching, water color and oil. These classes serve as the first foundation of paintwork for prosthetics also. Using the mediums of oil painting and water color, the course encompasses the following subjects: highlight and shadow, color theory, and portraiture. Airbrushes are distributed as part of the student kits and practiced first with paper exercises before moving to makeup application on models.

Any makeup effect created right out of the available items in one’s kit on set, as opposed to prosthetics pieces that are pre made in advance. Students are introduced to various methods and products to re-create realistic injuries. This includes: blood effects, bruising, tears, stained or broken teeth, scrapes, cuts, scars, burns, artificial snow and ice effects, bullet wounds, broken noses and tattoos. It also gives them a practical understanding of continuity and the necessity of script breakdowns (to map out stages of healing).

This course introduces the students to the basic concepts of hairstyling, and gives them their first opportunity to be ‘hands on’ with hair. Classes introduce the students to the theories and techniques behind hair styling and wig application, including hair prep and cleaning.

Learn how to prep hair for a wig application as well as styling synthetic hair wigs. Preparing long and short hair for bald cap applications is also demonstrated and practised. Hairstyling is an auxiliary skill often essential in the repertoire of the makeup artist for non-union, independent and low-budget film projects.

Focus is on developing time management skills with their applications. Students will then participate with Film Production students in actual film shoots, including production meetings, in Terms 3 and 4. In addition, a fashion photo shoot with a professional photographer is in Term 3. There is also an historical research assignment of 20th Century Make-up Artists and their achievements.

This course educates the student, mostly through practical application, in the proper techniques for both fabricating and applying successful bald caps. This is technically their first “prosthetic” experience. As such, students also refine their painting skills (including airbrushing) through a series of practical applications. Students will fabricate a supply of bald caps to use for practice, their assignment and the remainder of the term.

This course educates the student in basic to advanced techniques for building up and applying wax facial features, as well as introducing products and techniques used for body make-ups and body paints (and discerning the difference in the two genres.). Students also refine their painting and design skills through a series of makeup exercises, including advanced airbrushing techniques. The design and application of a fantasy beauty competition make-up offers exciting, creative exploration as well as another portfolio piece.

Samples of actual working portfolios are shown and discussed in advance of starting the prepatory work for their own. The structure of a portfolio layout and design is established as a template for students to begin construction of their 20 page books. Additional re-touching techniques are practiced within the limitation of “allowable” corrections that do not alter the integrity of the original makeup. The course completes with a portfolio panel review by 3 instructors who have graded all books. Each portfolio is then viewed in a theater, page by page, with a final critique and advice for improvements before going to print.

Techniques for character creation now move into facial hair; basic to advanced techniques for preparing and hand laying Beards. This starts with using crepe’ wool and then moves into human hair for the most realistic look. It involves equipment like hackles, beard forms and the use of special ovens to heat an assortment of iron tools to crimp loose hair and style a finished beard.

Focus is on developing time management skills with their applications. Students will then participate with Film Production students in actual film shoots, including production meetings, in Terms 3 and 4. In addition, a fashion photo shoot with a professional photographer is in Term 3. There is also an historical research assignment of 20th Century Make-up Artists and their achievements.

After an introductory presentation and live show and tell with sculptures, molds and various prosthetics, students learn how to do life casting (making an impression of a living being using alginate and plaster). They then move on to sculpting classes that result in creating features on the life-casts (noses and ears) in order to create a negative mould of their final sculpt. The moulds are then run with gelatin to create human ears and noses, which are applied and painted. Eventually a large, full-face prosthetic character becomes the final project of the term.

Non-prosthetic age techniques are fully explored and practiced. These classes examine the physiognomy of an aging face and the products and techniques that best simulate those effects. Students are then introduced to proven theory and techniques relating to the adhering, painting and removal of gelatin prosthetic appliances. This is in preparation for making their own custom prosthetics in the “Prosthetics Construction” course.

Samples of actual working portfolios are shown and discussed in advance of starting the prepatory work for their own. The structure of a portfolio layout and design is established as a template for students to begin construction of their 20 page books. Additional re-touching techniques are practiced within the limitation of “allowable” corrections that do not alter the integrity of the original makeup. The course completes with a portfolio panel review by 3 instructors who have graded all books. Each portfolio is then viewed in a theater, page by page, with a final critique and advice for improvements before going to print.

Partial face casts using silicone will be done so students can create a nose positive on which they sculpt a different character nose, ultimately resulting in the creation of a silicone nose prosthetic. They will learn to mix silicone moulding components to create negative molds for the bondo prosthetic transfers they sculpt. Eventually, students will learn how to create the formulas, prep moulds and run silicone to produce an encapsulated, gel filled prosthetic nose that they will apply. The students will further hone and refine their sculpting, painting and application skills of this unique material as they build an entire character around this piece.

Pre-made facial hair pieces (false moustaches, beards, etc.) are hand tied to film grade lace. Students will learn the proper technique for measuring the face (in order to ensure a custom fit), knotting the hair onto the lace (called ventilating), and blocking, trimming, perming, dressing, applying, removing and cleaning the pieces that they make.

Samples of actual working portfolios are shown and discussed in advance of starting the prepatory work for their own. The structure of a portfolio layout and design is established as a template for students to begin construction of their 20 page books. Additional re-touching techniques are practiced within the limitation of “allowable” corrections that do not alter the integrity of the original makeup. The course completes with a portfolio panel review by 3 instructors who have graded all books. Each portfolio is then viewed in a theater, page by page, with a final critique and advice for improvements before going to print.

Traditionally, in the realm of prosthetic make-ups, foam latex has been the most common go to material, an industry standard since the 1930’s. Students are introduced to the chemical components and mixing procedures as well as how to bake (cure) foam latex in a special oven. On the application side, we learn how they are applied and removed and how to make acrylic adhesive paint mixtures. Building towards their Term Five practical exam, students will design, sculpt, mould and then run those moulds with foam latex in order to make prosthetics appliances resulting in a fantastical character application.

This course is specifically intended to further develop the students’ abilities to prep, apply and style wigs. Students will become familiar with the special needs (in terms of care and application) of film quality, human hair, hand-tied wigs with lace fronts. Block and apply a hand tied lace front wigs that can then be used with makeup applications for portfolio work.

Many artists use ‘slip’ latex, or dwell-molded latex masks to create detailed (but far less expensive) versions of more complicated animatronics masks or foam latex appliance make-ups. These also have a practical application for stunt doubles. This course will teach all the steps necessary to create a full head latex mask (or display bust); sculpting, mould-making and painting skills, as well as learning hair punching.

Samples of actual working portfolios are shown and discussed in advance of starting the prepatory work for their own. The structure of a portfolio layout and design is established as a template for students to begin construction of their 20 page books. Additional re-touching techniques are practiced within the limitation of “allowable” corrections that do not alter the integrity of the original makeup. The course completes with a portfolio panel review by 3 instructors who have graded all books. Each portfolio is then viewed in a theater, page by page, with a final critique and advice for improvements before going to print.

This course examines other aspects of prosthetics; casting teeth and the creation of dental veneers and sculpting and moulding prosthetic transfers. This work opens the student to alternative casting and moulding materials.

Partial face casts using silicone will be done so students can create a nose positive on which they sculpt a different character nose, ultimately resulting in the creation of a silicone nose prosthetic. They will learn to mix silicone moulding components to create negative molds for the bondo prosthetic transfers they sculpt. Eventually, students will learn how to create the formulas, prep moulds and run silicone to produce an encapsulated, gel filled prosthetic nose that they will apply. The students will further hone and refine their sculpting, painting and application skills of this unique material as they build an entire character around this piece.

This course provides a series of portfolio labs where students are completing their final make-ups required for grading, in addition to other work. The finished makeups are photographed followed by color correction and editing and finally assembled into photoshop page layouts. This leads to the grading and printing of their final portfolios, both printed and electronic.

Students are tasked with creating a complete budget and proposal for their choice of a final portfolio project they will be graded on; another prosthetic make-up, mask, display bust, fantasy competition make-up or the creation of a full, knotted lace beard of their own creation. The majority of the course time is then devoted to the creation of that project.

These are the final classes that provide students with the critical information as to how they should approach the industry; resume’s, interviews, deals, union entrance, negotiating contracts, etc. There is also special classes where a working alumni addresses the class as to their recent experience entering industry. In addition, there are classes that cover make-up employment that is peripheral to film and television, such as retail, weddings and fashion.