To start with, I began working on my external model (who I had previously patch test according to the products being used). I used cotton pads and micellar (sensitive skin) water to remove any excess dirt or product from his face and then continued to prime his face. I then used a spray bottle (containing water) to dampen my face paints and then used a sponge to begin creating a green layer of paint to the models skin, although, the green did not cover the whole of the models face as this is something that the director asked me to steer away from when applying the make-up, as she didn’t want the ogre to look like ‘Shrek’. After this, I started layering colours on top of the green, in various different places on the face and neck, using mostly earthly colours to do so (green, brown, black), and even mixing the green and black together to create different shades of green and contour the face. After doing this, I decided that the colours used were not bright enough and that on stage, the face may appear too dark and hardly visible, and so I decided to use a wider variety of colour. Following on with this, I used neon paints to create a nuclear radiation type effect, as ogres are mythical creatures, it would not matter to even further expand on this unrealistic design. The style of performance and acting within Pantomime is unrealistic as it is. I additionally sprayed my sponges used with water in order for the paint to apply densely and thicker.

 

After applying these layers, I began to think that the application was a bit basic for my liking and proceeded to use a method to which I had used during ScreamFest. During ScreamFest, I used a black paint and a brush, flicking the brush (covered in paint) to create a splatter effect on the face, to represent dirt within the ‘Hillybilly Joes Zombie Zoo’ attraction, as characters had been working in ‘mines’. I instead used white face paint on my model and this displayed my skill and techniques as an artist within my field. 

 

Furthermore, I used a mixture of 3 eyeshadows, being purple, brown and red, to apply to the eyes, using the darker shades in the crease and underneath the eyes to create a tired and aged effect as the character is. I applied this with a fluffy blending brush.

 

I debated filling the eyebrows on the model, but then thought this over and came to the decision that I would not do this as it would appear too groomed and an ogre would not be, and this would not reflect in the character. 

 

Moving on, I styled the hair using a gel and fine tooth comb to backcomb the hair and create a messy and wild look, additionally applying hairspray to ensure that the style is durable and would hold up on stage.

 

When showing this design and outcome with the director, the only issue mentioned was the eyes being too dark and she worried that they wouldn’t be very visible on stage, which would be a problem as facial expressions would not be as obvious to an audience. To alter this, I did attempt using a white eyeliner on the waterline but with the model being uncomfortable with this, and also the eyeliner always fading after blinking or after a short amount of time, I decided to instead use a lighter shade of eyeshadow and also black mascara, applied using a disposable wand, in order to make the eyes more prominent.

 

I also added a fake cut to the lip, using a mixture of red and black paint to add depth to the character, showing that he had previously been involved in some sort of violence or trouble. I applied this using a thin paintbrush. I used a mixture of the two colours to create a realistic portrayal of dried blood using the equipment that I already owned.

 

When again showing this work to the director, she was happy with the final outcome. However, she said that the hair may be too neat for the character choice and so I continued to discuss pathways to achieve this style and I approached the director with the idea of using the face paints within the hair, to which she agreed. An issue that I intend to work around within final application is the two different actors for this character having a different style, texture and length of hair, to which I will use product necessary to the requirements of their hair to achieve the same aesthetic.

 

Following on from this, I used a bronzer and angled contour brush to apply this to the hollows of the cheeks, the nose, forehead (anywhere that would naturally tan in the sun) and also the jaw. I applied this to the jaw to define the bone structure of the model and sculpt it to appear masculine. After applying this, I decided against using a blush on the cheeks as most of the ensemble had, and I wanted the principle role to be visually different to them; as well as this, the look is overall masculine and from my research of male grooming, it does not consist of the use of blush.

 

Moving on, I decided to not fill the eyebrows but instead use a tinted brown mascara to sculpt the eyebrows and add shape and colour to the less prominent hairs. Doing this created a fuller, bushy look which coexisted with the masculine aesthetic, as filling the brows could’ve appeared feminine.

 

When applying make-up to the eyes, I only applied a black mascara with a disposable wand in order for the eyes to be more visible, but decided not to use any other product on the eyes as the character was not one that is eccentric or needed so. However, I did add a trademark feature to the models face, that being a mole/beauty mark on the bottom of the models left cheek. This separates the character from others and also symbolises wealth and power. 

 

Lastly, I applied a light shade of pink lipstick to the models lips, using a disposable lip brush, having them rub their lips together after doing so, in order to create a natural lip shade, but darker than their own. This added dimension to the face. I also used a highlighter product to accentuate areas of the face, such as the cupids bow, chin, forehead, arch of the eyebrows and tips of the cheekbones.

 

Afterall, I set the look with a setting spray and continued to style the hair.

I used again, a gel and fine toothcomb to neatly part the hair into a ‘combover’ look, slicking the excess hair to the side and gripping it tightly, as I knew a crown would need to sit on top of the actors head. I also used grips the same shade as the models hair and hid these within so that they would not be visible to the audience. With any stray hairs or baby hairs, I used the gel to comb to lay these to the face, displaying not only my skill as an artist but also representing the fact that this character would have the luxury of a team that can style his hair and create fancy looks. He has the time to be groomed and the money and power to do so.

 

I finished this up by using hairspray and applying this to the hair to ensure that it would stay in place throughout the performance.

 

I found that having to apply paint to the legs and arms was very time consuming and I began to stress, fearing that I would not have time to apply make-up to my other principle character, but in the working environment, I concentrated on the task at hand with no distraction and discovered that I actually had spare time after creating both looks, which allowed me to clean my area and equipment.

 

Another issue that arose during the process was the difference in hair style, length and texture of both actors playing the role of Grimgrab The Ogre. With Ben, one of the actors playing this character, he had short, easily tameable hair, to which I found easy and quick to style and also to hold on in place during performance, but with Dylan, since his hair is so long and of a different texture, not only was it time consuming to style, but during performance, the weight of it meant that the style did not hold up, no matter how much product used. To fix this in time for the next performance, I used a clip, which I disguised within the hair, and painted and decorated the clip with leaves so that the hair would hold up, and out of the actors face, but the support would not be visible to an audience member. This appeared successful. 

 

Other than this, I found the application to be successful. No issues occurred despite those mentioned and the rehearsal allowed me to apply the final application to my best ability, within the time schedule. 

 

Another change of plan was the hair look, with one of the actors having long hair that could be styled a certain way, and the other having a small amount of hair to work with, I decided to not style the actors with little hair’ hair. I chose to do this as not only was it not possible to work with, but it also appeared neat and relevant to the character as it was. 

 

Moreover, instead of applying the powder to the face before the contour, with Joshua, since I used a cream contour for the sculpting of his face, I applied powder after. I believe that putting a pressed powder on his face before a cream product would’ve not applied as normal and feel heavy on the actor.

 

I found that this make-up application was very fast due to the little make-up that the actors needed and so I always applied this make-up after applying the previous characters, as I know that I am able to apply this in a short amount of time.

As we already know, the hair & media make-up department/team are a prime component of a show, despite the efforts made being backstage. We are responsible for not only creating and then preparing appearances for performers but also applying these for a live audience to view – these looks are created based upon design, script and directors notes. The make-up team are also required to work additional hours throughout productions in order to apply ‘top-ups’ and maintain appearances due to performers make-up being removed during practical use and natural removal such as perspiration under stage lighting. These top-ups are applied so that characters are always accurate representations of the script and as effective as possible.

The hairdressing role consists of working closely with the chief make-up artist in order to understand the requirements of the work itself and design. The hairdresser/s will then continue to apply their skills in order to create these looks that the chief make-up artist has requested, as well as the casting crew and director. I will be undertaking not only the role of a make-up artist but also as a hairdresser, however, this is a Pantomime production, not a film production. (1)

 (1)  Beverley Braisdell (2011). The hair and make-up artist’s handbook. England: City and Guilds. 384 – 392.

As we already know, the hair & media make-up department/team are a prime component of a show, despite the efforts made being backstage. We are responsible for not only creating and then preparing appearances for performers but also applying these for a live audience to view – these looks are created based upon design, script and directors notes. The make-up team are also required to work additional hours throughout productions in order to apply ‘top-ups’ and maintain appearances due to performers make-up being removed during practical use and natural removal such as perspiration under stage lighting. These top-ups are applied so that characters are always accurate representations of the script and as effective as possible.

The hairdressing role consists of working closely with the chief make-up artist in order to understand the requirements of the work itself and design. The hairdresser/s will then continue to apply their skills in order to create these looks that the chief make-up artist has requested, as well as the casting crew and director. I will be undertaking not only the role of a make-up artist but also as a hairdresser, however, this is a Pantomime production, not a film production.