Advanced fashion & makeup certificate 2014 toolkit v1 by MiNK London

Advanced Fashion & Media Makeup Certificate

Advanced Makeup Certificate Toolkit Designed by Dezine Koncepts Ltd. 2012

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"Makeup is a skill that once learned can never be taken away from you. Since the beginning of time women have found it necessary to enhance their appearance and this won't ever change. In a world of changing fortunes it is a 'smart' move to acquire a set of skills that people will always require"

Funmi Odegbami Director of MiNK London

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Course Outline 1 2 3 4 5 6 7

Getting Started Perfecting the Makeup Makeup for TV & Film

6 54 67

Fashion and Media Makeup Designing Makeup Looks The Business of Makeup Aftercare and Useful Resources

185 288 295 334

Getting Started

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Getting Started A.

Introduction

Your Health, Your Safety

Studio Rules

Dress Code

The Makeup Kit

Sterilization and Hygiene

Contra-Indications

Introduction

About MINK • MiNK London is an award winning makeup school and the UKs leading and most trusted makeup educator. Our courses are suitable for ALL people, regardless of ethnicity, gender or age. • At MiNK the expert knowledge of makeup application techniques for ALL skin tones is intrinsic to all training courses. • The school was originally setup to address the unique makeup requirements for people of colour because other schools in the UK were failing them. Fact! Most presenters and models of colour still have to carry their own foundations to work because makeup artists do not stock their colour or know how to best apply it. • We specialize in short, intensive makeup courses that aim to equip students with both the knowledge and skills needed to inspire and prepare them for careers in the exciting world of makeup artistry. • Students are exposed to the limitless possibilities of makeup, encouraged to take chances and to develop their own uniqueness. • Our hair and makeup courses are fully accredited makeup course so you can be assured that you will get the highest standard of training available.

Introduction Aim of the Advanced Fashion & Media Makeup Certificate:

• Learn advanced creative and high fashion and media makeup application techniques • Develop an artistic eye • Research, plan, design and produce creative makeup looks • Develop a range of activities that will motivate, encourage and stimulate greater learning outcomes • Prepare students for successful freelance makeup careers

Introduction Student objectives What do you want out of this course?

Health and safety

Statement of Intent • The health, safety and welfare of any employees of MiNK London, visitors, the general public and others who may be affected by our activities are of prime importance. • MiNK London will provide, as far as reasonably practical, safe and healthy working conditions, equipment and safe systems of work. • MiNK London will, at all times, provide such information as may be needed to ensure the health, safety and welfare of any employees, visitors, the general public and all others who may be affected by our activities and make sure that adequate training and supervision is provided. • Any employees of the Company have been aware of their duties in respect of Health & Safety matters and will take all reasonable care for themselves, any fellow employees, visitors, the general public and all others that may be affected by their activities whilst employed at MiNK London. • MINK London is committed to improve and develop the management of Health & Safety and has prepared this policy documenting the procedures for allocation of duties, the responsibilities and organisation for safety matters and details particular arrangements.

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Health and Safety Environmental Statement â&#x20AC;˘ Whilst being committed to providing the very highest level of service to its customers, MiNK London recognises that it has environmental responsibilities and as such, is committed to managing its activities, wherever practicable, to minimise the effect on the environment. â&#x20AC;˘ MiNK London will therefore identify any risk of pollution arising from any of its activities and eliminate the pollution or ensure that controls are in place to meet all regulatory requirements. â&#x20AC;˘ MiNK London will seek, wherever practicable, to ensure that products and services supplied to it are done so by persons or companies who can demonstrate equal environmental responsibility. WWW.THISISMINK.COM

Health and Safety Working Arrangements and Working Areas • Working areas shall be designed to ensure adequate space, light, temperature and ventilation for reasonable comfort and safety. Noise levels should be as low and within safe limits. • Corridors and staircases must not be used as storage or work areas. • Polished/wet floors may be slippery; there should be no running. In addition, all floors must be kept dry and free of litter, goods, trailing cables etc. • Access to high-level storage should be made using adequate equipment that shall be made available (e.g. step ladder, not a stool or chair). Disposal of Waste Material • Workplaces, furnishing, fittings, floors, walls and ceilings should be kept clean. Waste should be disposed of regularly in suitable receptacles. Hazardous waste materials must be disposed of only in approved containers. Sharp objects should be wrapped and segregated before disposal. Smoking • It is the company policy to provide a working environment that is free from tobacco smoke. Consequently operates a no-smoking policy. WWW.THISISMINK.COM

Health and Safety Alcohol and Substance Abuse • Anyone who suspects or knows that they have an alcohol or drug related problem is encouraged to seek help. Many organisations can offer help including: – Alcoholics Anonymous 0845 769 7555 – Narcotics Anonymous 020 7730 0009 – Addiction 020 7251 5880

Violence, Harassment and Bullying • All reasonable security precautions have been and shall continue to be taken to prevent the risk of violence and harassment. However, should anyone be subjected to violence, bullying or harassment they are encouraged to report the matter at the earliest opportunity. • All complaints of this nature will be taken seriously and shall be investigated fully, promptly and objectively. As far as is reasonably practicable, MiNK London shall take steps to conceal the identity and complaint of all parties. WWW.THISISMINK.COM

Health and Safety Violence, Harassment and Bullying â&#x20AC;˘ All reasonable security precautions have been and shall continue to be taken to prevent the risk of violence and harassment. However, should anyone be subjected to violence, bullying or harassment they are encouraged to report the matter to Funmi Odegbami at the earliest opportunity. â&#x20AC;˘ All complaints of this nature will be taken seriously and shall be investigated fully, promptly and objectively. As far as is reasonably practicable, MINK London shall take steps to conceal the identity and complaint of all parties. WWW.THISISMINK.COM

Health and Safety Work Equipment • Work equipment includes any machinery, appliance, apparatus or tool which is used during the course of work (e.g. hammer, ladder, drilling machine, photocopier, lifting equipment etc.) it may include equipment not owned by MiNK London such as that owned by a third party and rented for specific activities. The use of ANY equipment that is not owned by MiNK London must be authorised in advance. • Incorrect and careless use of equipment can result in personal injury to any person and damage to property or equipment. • All equipment must be used with due care, for its intended purpose and in the correct conditions only. Equipment must be used in accordance with its instruction for use and any applicable directions and training. • Where necessary information, instructions and training will be given before use of any equipment (and thereafter if required). WWW.THISISMINK.COM

Health and Safety Work Equipment • All equipment used must be maintained in a safe and efficient condition and in good repair. Storage and maintenance must be suitable for the specific equipment. Where necessary, equipment shall be inspected to ensure that it is safe for use without risk of injury or damage and appropriate records shall be kept up to date. • Any faults or defects noticed in any work equipment or safety device attached to it or any PPE must be reported immediately. Equipment must not be used until defects and faults have been rectified unless such defect and faults are minor and carry no risk to Health & Safety what so ever and prior written authorisation has been given. • Work equipment must not be removed from the premises without prior authorisation. WWW.THISISMINK.COM

Health and Safety Work Equipment • Where necessary, safety devices shall be attached to equipment (e.g. protective devices, markings or warnings). Equipment must be operated with, or in accordance with, any safety devices attached to it. Safety devices must not be removed, circumvented or otherwise tampered with. Anyone who removes, circumvents or otherwise tampers with a safety device will be subject to disciplinary action (including, if appropriate, dismissal). • PPE will be provided where appropriate and must be used when operating, working or being in the vicinity of the relevant equipment. • When buying new work equipment or disposing of old equipment, relevant legal requirements and product safety regulations must be followed. WWW.THISISMINK.COM

Health and Safety Electricity and Electrical Equipment • Anyone using electricity and electrical equipment must be aware of the risks of electrocution, electric shock, burns, fire and explosion. All precautions must be taken to reduce such risks. Assessment of all foreseeable risks of personal injury or death associated with work activities involving electricity has been undertaken and shall be reviewed as required by law and MiNK London has devised safe systems for working with well-maintained electrical equipment. • Fixed electrical installations (including wiring and the socket outlet or isolator) shall be checked regularly to ensure that they are not dangerous. Electrical systems must not be interfered with. No work shall be carried out on fixed installations and mains without prior written authorisation. • Any faults or defects in and electrical installation of equipment must be reported as soon as they are discovered. Defective installation/equipment must not be used until fully repaired. WWW.THISISMINK.COM

Health and Safety Electricity and Electrical Equipment • Electrical equipment must never be used with wet hands • Earth connections and screens must not be interfered with • Electrical equipment must be position safely and securely (e.g. not too close to walls and partitions and allowing for adequate ventilation and cooling • Conductors and liquid containers (e.g. a cup of tea) must be kept clear of all electrical equipment • Electrical equipment and the mains supply must not be overloaded. • Faults can occur between checks. Therefore, everyone should look out for and pay particular potential faults/defects. WWW.THISISMINK.COM

Health and Safety Electricity and Electrical Equipment • Unless this is unavoidable and all suitable precautions have been taken to prevent injury, no-one should work on or near exposed live parts of electrical equipment. In any event, such work must be authorised in advance and must only be carried out in the presence of another person who must know what to do in an emergency. All necessary protective equipment must be used. • Any conducting part of the system which could conceivably become live and yet be handled (e.g. external metal casing of a electric apparatus) must be earthed. All equipment designed with an earth shall be tested before being put in to use, to ensure that it is property earthed. • Anyone who is in doubt about the use of any electrical equipment or requires advice in relation to any such use or equipment should contact Funmi Odegbami.

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Health and Safety Electrical Equipment Fire Hazards • It is recommended that equipment that is not in use is unplugged. All equipment should be switched off and unplugged before cleaning or making adjustments. Where possible, tools and power socket outlets should be switched off before plugging or unplugging. • Only dry powder, halom or carbon dioxide (CO2) may be used on electrical fires. Water and water-based extinguishers must never be used in case of an electric fire. • In the event of a fire, the alarm must be raised immediately an the Fire Procedure outlined in this document should be followed. • All electrical incidents/accidents must be reported. WWW.THISISMINK.COM

Health and Safety Electricity-Related Injuries • In the event of any person suffering electric shock, it is important to: – Turn off the power and, if possible, isolate the supply – Call First Aider(s). Medical help must be called, but especially when the victim appears to be unconscious – Not touch the victim, but to try and move him/her out of contact with the live equipment using a non-conducting object such as a wooden broom handle (e.g. by moving the equipment). In so far as possible, the victim should not be moved. – All electrical burns (other than very minor and superficial burns) must be inspected by a qualified medical practitioner. Burns can be cooled with clean water and covered with a burn dressing. – All electricity-related injuries must be reported in accordance with the procedure for reporting an accident included in this document. WWW.THISISMINK.COM 23

Health and Safety Emergencies – General Precautions • In the event of an emergency, the fire alarm will sound and a designated person will assume control, ensure the evacuation of all persons present to their assembly point, contact the emergency services when required and ensure compliance with any relevant emergency procedure. • The paramount consideration in all cases of emergency is human safety. For the duration of any emergency, the designated person will have overall control. Everyone, including visitors, is required to cooperate with the instructions given to them by the designated person present at the scene and to use common sense. Do not rush or attempt to pass others when leaving the scene. • All exits and exit routes must be kept clear and must allow safe and free passage in the event of an emergency. Lifts should not be used in an emergency, except with the direction of a member of the emergency services. WWW.THISISMINK.COM

Health and Safety Persons with Disabilities • It is MiNK London’s responsibility to be aware of any disabled person on the premises (including visitors) and in the event of an emergency. In addition to following the normal emergency procedure, arrange for assistance for the disabled person and inform the designated person of this. • Anyone with impaired mobility (i.e. anyone who cannot, without the assistance of another, use stairs to leave a building) who is on the ground floor should, in case of an emergency, wait until the initial rush is over and then evacuate the building with assistance. • Anyone with impaired hearing who cannot hear the fire/emergency alarm must report MiNK London and avoid working in isolated areas. If someone with impaired hearing must work alone they must ensure that someone knows where they are and that person must inform them of any emergency.

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Health and Safety Fire Precaution Measures • Everyone is required to familiarise themselves with the position of the nearest telephones and fire extinguishers and all exists and routes to emergency exits. • All areas have been and shall continue to be appraised periodically for risks from fire and all necessary preventative action shall be taken. • All exits and exit routes must be kept clear and must allow safe and free passage in the event of fire. Corridors and staircases should not be used as working or storage areas. All exit doors should be able to be opened easily and immediately from within and without the need for a key. Fire doors must be kept closed at all times, except when actually used or when large items have to be moved through them. • Emergency routes and exits shall be indicated by clear signs and, where necessary, shall be illuminated. • Detectors and extinguishers shall be inspected, tested and maintained regularly, as appropriate, to ensure that they are in an efficient state, in working order and in good repair. WWW.THISISMINK.COM

Health and Safety In the Event of Fire • Anyone who discovers a fire is required to raise the alarm. Fires should only be tackled when it is safe to do so, there is a clear escape route, there are fire extinguishers of the appropriate type and the person tackling the fire is trained and confident in the use of fire extinguishers. • Anyone who hears the alarm should leave the building immediately by the safest route and report to the assembly point. If there is time, all doors and windows should be shut. Do not stop to collect personal belongings. • Everyone must remain at the assembly point until authorised to re-enter the building. • On completion of the evacuation the designated person must be able to confirm that everyone has evacuated the premises and/or whether there is anyone remaining within the premises and, if so, their identify. • Every event of fire shall be reported to and recorded in writing by the designated person immediately after the event who will report this to the Health & Safety Executive, as required by law. Any fire outbreak may be investigated and suitable procedures and/or arrangements put in place to prevent future occurrence of similar incidents. WWW.THISISMINK.COM

Health and Safety Fire Extinguishers â&#x20AC;˘ Prompt and correct use of fire extinguishers can prevent a fire from spreading. The correct type of fire extinguishers must be used to avoid increased risk and danger to the operator. Training in the use of fire extinguishers will be given when appropriate. Water and water-based extinguishers must never be used on electrical fires. â&#x20AC;˘ A water-type (silver, red or silver band or label on red) extinguishers should be used for all carbonaceous materials (e.g. wood, paper, fabrics etc.). A foam type (cream or cream band or label on red) extinguisher should be used on carbonaceous material and flammable liquids (e.g. petrol or oil). Carbon dioxide (black or black label or band on red) extinguisher or a fire blanket should be used on all electrical fires, flammable liquids and gasses, solvents, petrol, oil and similar materials. A dry powder (blue or blue band or label on red) or halom (green or green band or label on red) extinguisher can be used on all fires. WWW.THISISMINK.COM

Health and Safety Bomb Alert Procedure • Anyone receiving a bomb threat or discovering a suspicious object or vehicle should report it immediately and remain in the vicinity and make themselves known to the first security personnel arriving on the scene. • If a bomb threat is received, it is important to try to: – Ask questions: ‘where is the bomb’, ‘what time will it go off’, ‘what kind of bomb is it’, ‘do you have a code word’ and ‘why are you doing it’ – Assess the gender, age group, accent and state of mind (e.g. intoxicated or irrational) of the caller – Identify any noticeable background noise or distractions – Assess whether the call is from a public, mobile or private telephone – Assess why suspicion was aroused

•

If suspicious object or vehicle is identified or found it is important to: – Note its exact location and easily recognisable identifying features (e.g. registration number, name markings etc.) – Advise those present in the immediate vicinity to clear the area and remain at a safe distance

• •

Under no circumstances should anyone touch a suspicious object or vehicle. Mobile phones and radio transmitters must not be used near a suspicious object or vehicle. WWW.THISISMINK.COM

Health and Safety Emergency First Aid Treatment â&#x20AC;˘ First aid box(es) are located in the training room and on reception. Everyone is required to familiarise themselves as to the exact position of the first aid box nearest to them and the name of the person responsible for it. â&#x20AC;˘ Where necessary a First Aider(s) will be called to the scene of an accident/incident where they will assess the situation quickly and safely, call for appropriate help (and if suitably trained and certified give early, appropriate and adequate treatment in a sensible order of priority, arrange for any injured person to be taken to hospital, to see a doctor or go home (as appropriate) and ensure that an accident/incident report is completed and returned and that the Accident Book is filled in. Unless there is an imminent threat to life, an injured person should not be moved except by the ambulance service or a suitably qualified person. All First Aiders shall receive HSE approved training, attend refresher courses, pass all the necessary qualifications and hold a current First Aid at Work certificate. WWW.THISISMINK.COM

Health and Safety Reporting of Accidents • Any accident at work or in connection with work (whether involving an employee, visitor or other person, whenever or wherever it occurs on the company’s premises) must be reported immediately and fully to Funmi Odegbami, first verbally and then in writing, who shall arrange for the accident to be investigated and an accident report prepared. • It is the responsibility of (contact name) to report to the Health & Safety Executive’s Incident Contact Centre or local office of the Health & Safety Executive the incidents described below, in the manner prescribed by law. • Any accident (whether involving an employee, visitor or other person, whenever and wherever it occurs on the company’s premises) arising out of or in connection with work and resulting in death or major injury (e.g. amputation, most fractures and major dislocations, temporary or permanent loss of sight, serious injuries for electrical accidents, most injuries leading to loss of consciousness, acute illness which results from exposure to armful substances or biological agents, injuries following an assault at work. WWW.THISISMINK.COM

Health and Safety Reporting of Accidents • Any accident (whether involving an employee, visitor or other person, whenever and wherever it occurs on the company’s premises) arising out of or in connection with work and resulting in hospitalisation for more than 24 hours or any other injury that results in anyone being absent from work for more than three days (including non work days) after the day of the accident. • Any dangerous occurrence (whether involving an employee, visitor or other person, whenever and wherever it occurs on the company’s premises). Examples of dangerous occurrences include (but are not limited to) collapse, overturning or lift/lifting equipment failure, electrical short circuit or over load causing fire or explosion, unintended collapse of any building or structure under construction, a wall or floor in a work place, explosion or fire causing suspension of normal work for over 24 hours, accidental release of substance which may damage health. • Any reportable disease which anyone suffers (e.g. occupational dermatitis, skin cancer, or acne, lunch diseases such as occupational asthma and asbestosis, infections such as hepatitis, tuberculosis and tetanus, occupational cancer and hand-arm vibration syndrome) WWW.THISISMINK.COM

10 Studio Rules

1. Remember the Golden Rule: treat others as you would like to be treated 2. Everyone working in the studio is responsible for the condition of the space 3. When finished working, clean your area and any studio equipment or tools you used and return tools (cleaned!) to their proper location after you use them 4. Be fair in your use of table surfaces and storage areas. Consolidate and share space with others 5. Ask permission to use equipment and use it properly. It is expensive to fix and/or replace 6. Limit noise. Keep loud conversations and cell phone use outside the studio 7. Mobile phones should be switched off or put on silent 8. Show consideration when an instructor is lecturing or helping another person 9. Please arrive on time, if you are more than 30 minutes late your instructor is authorized to refuse you entry 10.Wait at reception, and not in the corridors, until the tutor invites you into the training room. WWW.THISISMINK.COM

Dress Code

Maintaining a professional appearance is vital to your success; and here at MiNK London we require professionalism in all areas and at all times. We are representing the training centre, the professional makeup industry and the world of fashion and beauty. So we must ALL look the part! We have established the following dress code to ensure fairness, consistent standards, a professional working environment and positive habits for our staff and our students: 1. Please attend the class wearing a smart black or dark coloured top and black or dark coloured bottoms; it can be a skirt, trousers, jeans etc. 2. Low flat heels should be worn for safety and to encourage good posture WWW.THISISMINK.COM

Dress Code 3. Skirts must be no shorter than 3 inches above the knee 4. Shorts and miniskirts are not permitted unless they are worn over leggings or thick black tights 5. Appropriate length top or skirt should be worn over leggings 6. Denim must be clean and not torn or ripped 7. Undergarments are required and should not be visible at any time 8. Revealing clothing is not permitted e.g. exposed mid-riff, very low cut tops etc. Students who choose not to come in the correct dress code will not be allowed to enter the class until they are in compliance with the dress code, which may not allow them the opportunity for that days education. WWW.THISISMINK.COM

The Makeup Kit

Using the right makeup tools is essential. It can make the difference between looking unpolished and looking fabulous • Mirrors – mistakes become glaringly obvious in the mirror • Lighting – lighting will affect how you view the makeup • Pencils – Pencils are available in soft and hard textures and a variety of sizes • Eyelash curlers • Tweezers • Palettes • Foundations WWW.THISISMINK.COM

The Makeup Kit • • • • • • • • •

Concealer Gold/silver shimmer powder Powder blush / Cream blush Translucent powder Mascara Cream, liquid or gel eyeliner Highlighter Lip gloss Lip stick WWW.THISISMINK.COM

Brushes 1.

10. WWW.THISISMINK.COM

Brushes 1. Powder brush: a fluffy, oversized brush used to dust on loose powder or bronzer 2. Blush brush: A round, medium-sized brush used to apply and blend blush or bronzer 3. Foundation brush: A large, flat, oval brush used to apply liquid or cream foundation. Usually made of synthetic fibres 4. Wedge sponge: Used for applying and blending foundation. Can be used dry for a matte finish, or wet for a dewier look 5. Smudge brush: for a soft or smoky look, trace it back and forth along eyeliner, blurring it out in the process.

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Brushes 6. Shadow brush: A fine, flat brush used to highlight the brow bone, accentuate the crease, or sweep colour all over the lid 7. Brow Brush: A firm, angled brush used to sweep colour onto the eyebrow 8. Line brush: A stiff-bristled brush used to trace an exact line along the lashes 9. Eyelash separator: Use to comb through mascaraed lashes to get rid of clumps. Rinsed clean, itâ&#x20AC;&#x2122;s great for blending in brow pencil 10. Lip brush: A tiny brush used to apply lipstick or gloss â&#x20AC;&#x201C; gives great definition. WWW.THISISMINK.COM

Sterilization and Hygiene

Personal hygiene and conduct • Hair should be clean and long hair should be worn off face • Clean clothes should be worn • Chewing gum whilst working should be avoided • Strong perfumes or aftershave should be avoided • Nails should be short and clean. Polish should not be worn, as some clients may be sensitive to it • Jewellery, particularly rings and bracelets, should not be worn as they may scratch/irritate the client. WWW.THISISMINK.COM

Sterilization and Hygiene Personal hygiene and conduct • Hands should be cleansed before each client with suitable hand wash/sanitizer • Wounds and open sores on the hands should be covered with suitable waterproof dressing • Good oral hygiene is important, particularly if you are a smoker or have eaten strongly flavoured food • Low of flat heels should be worn for safety and to encourage good posture • Always follow legislative and workplace rules and regulations. WWW.THISISMINK.COM

Sterilization and Hygiene • Healthy and hygienic working conditions are very important. Infection may occur when dirty equipment is used or an artist works un-hygienically. There are a number of ways to clean makeup equipment to avoid cross-infection: • Method 1 – wash in warm soapy water, rinse and immerse in barbicide solution for recommended time. Rinse well • Method 2 – wash out with barbicide solution. Rinse well. Suitable for: water sprays • Method 3 – wipe clean with alcohol or a sterile wipe. Sterilise in autoclave*. Place in UV cabinet ready for use (suitable for: scissors, tweezers) WWW.THISISMINK.COM

Sterilization and Hygiene • Method 4 – If unsuitable for cleaning, dispose of item e.g. sponges, heavily soiled powder puffs • Method 5 – Wash in washing machine at 60⁰C. Tumble dry on hot cycle. Suitable for lightly soiled powder puffs, towels, head bands, makeup gowns • Method 6 – remove excess cosmetics on a tissue. Use a professional brush-cleaning product, which cleans and disinfects. * Barbicide is a disinfectant solution used in barber shops and hair salons to disinfect items such as combs and scissors, where it is a very well-recognized symbol of cleanliness and sanitation * An autoclave is a device to sterilize equipment and supplies by subjecting them to high pressure saturated steam at 121 °C or more, typically for 15 to 20 minutes depending on the size of the load and the contents. WWW.THISISMINK.COM

Sterilization and Hygiene You will also need to get rid of any makeup that has past its expiration date: Liquid and Cream Foundation

2 Years

Concealer

2 Years

Powder

2 Years

Mascara

6 Months

Lipstick

12 to 18 Months

Lip and Eye Pencils

12 to 18 Months

Eye Shadow

2 Years

Powder Blush

2 Years

Cream Blush

2 Years

Face Cream

2 Years

Eye Cream

2 Years WWW.THISISMINK.COM

Contra-indications

â&#x20AC;˘ A contra-indication is any reason why a makeup artist may not treat the client. During consultation, while questioning and observing the client, he/she may inform you of a contra-indication he/she has or you may notice a contra-indication to treatment that the client may be unaware of. It is essential, therefore, that you are able to recognise these contraindications in order to prevent treatment or to limit or adapt it in some way.

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Contra-indications • A contra-indication exists when: – An infectious disease is present – A disorder or medical condition may prevent treatment – A condition is present, for which medical approval must be sought before treatment

• Contra-indications may be defined as – General: would contra-indicate most treatments and affect the whole body – Specific: would contra-indicate a particular treatment or prevent treatment on a specific area of the body – Temporary: would prevent treatment only for a short period of time. WWW.THISISMINK.COM

Contra-indications • Under no circumstances must you diagnose any medical condition • When you suspect there is a medical condition that may contra-indicate treatment, you will need to be tactful when discussing this with the client • Try not to alarm the client, but explain that it would be in his/her best interest to seek medical approval • The most important consideration for you is to prevent cross-infection occurring • For this reason, clients with an infectious disorder or disease must not be treated • It is the responsibility of the client to obtain permission for treatment from his/her GP or specialist, preferably in the form of a letter. WWW.THISISMINK.COM

Contra-indications • Contra-indications fall into four categories: 1. Viral 2. Bacterial

3. Systemic 4. Fungal

VIRAL

BACTERIAL

SYSTEMIC

FUNGAL

Herpes simplex

Impetigo

Diabetes

Ringworm

Chickenpox

Paronychia

Multiple sclerosis

Athlete’s foot

HIV

Stye

Osteoporosis

Warts

Boil

Asthma

Rubella

Bronchitis

Verruca

Bells palsy WWW.THISISMINK.COM

Contra-indications Contra-indications requiring medical permission – where medical permission cannot be obtained clients must sign a consent form stating that the treatment and its effects have been explained and confirm that they are willing to proceed without permission from their GP • Medical oedema • Nervous/Psychotic conditions • Epilepsy • Recent facial operations affecting the area • Diabetes • Skin cancer • Slipped disc • Undiagnosed pain • When taking prescribed medication • Whiplash. WWW.THISISMINK.COM

Contra-indications Contra-indications that restrict treatment: • Fever • Contagious or infectious diseases • Under the influence of recreational drugs or alcohol • Diarrhoea and vomiting • Any known allergies • Eczema • Undiagnosed lumps and bumps • Localised swelling • Inflammation. WWW.THISISMINK.COM

Contra-indications Contra-indications that restrict treatment: • Cuts • Bruises • Abrasions • Scar tissues (2 years for major operation and 6 months for a small scar) • Sunburn • Hormonal implants • Recent fractures (minimum 3 months) • Sinusitis • Neuralgia • Migraine/Headache. WWW.THISISMINK.COM

Contra-indications Contra-indications to eye makeup • All the general contra-indications plus any form of eye infection • Any eye surgery (approximately 6 months) • Conjunctivitis • Stye • Hay fever • Watery eye • Blepharitis • Infectious and non infectious skin conditions specific to the eye and surrounding area to include: – Atopic eczema – Atopic dermatitis – Psoriasis. WWW.THISISMINK.COM

Perfecting the makeup

Perfecting the Makeup A.

Prep!

Conceal!

Blend

Layer

Powder

Look

Listen

Natural Makeup - Tips

Glamourous Makeup - Tips

A Perfecting the makeup

• •

• • • • •

PREP! Prepping the eyes will provide a smooth base for the eye shadow CONCEAL! Concealer is great for balancing colours and perfecting lines LAYER! Use paints & creams to intensify colour and for quick makeup changes POWDER! Translucent powder is great for quick make up changes BLEND! Blending is key to creating a flawless look LOOK! Gain more perspective of your work by taking a step back and looking LISTEN! Listen to your client, remember the look has to be perfect for them too.

Prep! • Preparation is key to a successful and professional makeup look • Prepare the skin by cleansing, toning and moisturising before applying any make up • Using a primer prepares the face for makeup and help the makeup last • Prepare the eyes for eye-shadow by applying a small amount of foundation or concealer to the lid and then translucent powder • Apply a balm to the lip at the beginning of the makeup to moisturise and condition it before lipstick/gloss is applied WWW.THISISMINK.COM

Conceal! • Nude Lip--apply concealer to lips and then add a clear/sheer or slightly tinted gloss • Dab a little to the middle of lips before applying lipstick/gloss to make lips appear bigger • Apply concealer apply around lips to perfect and to make lips appear larger • Take a stick concealer and use it to draw/outline where you'd like an eyebrow shape to be--this is great to use as a guide when plucking eyebrows • Want to make lashes look longer? Take the tiniest amount of concealer and apply on the edges of your lashes. Use the concealer as a primer before applying mascara • Apply concealer down the bridge of you the nose and blending well, to make nose appear thinner. WWW.THISISMINK.COM

Conceal! • Dab concealer lightly over blemishes/discolouration to create a balanced look, in this instance the concealer enhances the foundation • Concealer can be used to create illusions • Apply concealer to the bridge of the nose to make it appear thinner. • Apply a very small amount of concealer to the edge of the lashes, which will act as a primer so when mascara is applied the lashes will appear longer • Dab a little concealer in the middle of the lips before applying lipstick of gloss which will make them appear bigger • Applying a small amount of concealer around the lips will make them appear larger.

• To create a nude lip apply a small amount of foundation to the lips then add a clear/sheer or slightly tinted gloss WWW.THISISMINK.COM

Blend! • Buff the foundation into the skin with your blending brush to create a flawless and natural finish • Blend the concealer into the skin so there are no tell tail lines • Ensure blushers/bronzers are blended evenly so they enhance the face naturally, remember you are creating a bridal look not a catwalk look • Always blend upwards as when you are working with colours you want to lift the face not create the appearance of “Sagging” • If you use more than one colour eye-shadow ensure there is no separation between the two, they should merge smoothly. Cotton buds can be used as an eraser to correct mistakes. WWW.THISISMINK.COM

Layer! • Apply a matching powder on top of the cream or paint to increase its staying power and for greater colour intensity • Apply cream or paint over eye shadow to quickly change a makeup look – higher maintenance is required as paints and creams do not last as long as powder products • Paints and creams are also useful for creating patterns as they are easy to apply, however more maintenance is required as colour can run and colour intensity will not last • Paints are great for fashion/editorial makeup but not practical for everyday wear. WWW.THISISMINK.COM

Powder! • Translucent powder is designed to set makeup. However makeup artists can also use it for quick makeup changes • Dust a very generous amount of powder over the face to diminish the makeup – great for reducing blusher and highlight & contour applications • Next apply the replacement colours as required • Applying translucent powder over the first layer of lipstick will seal a layer of colour and hold onto the second layer helping it to last longer • Applying a thick layer of translucent powder under the eyes will catch any eye-shadow drop down. Just dust off the powder when you are finished • Apply translucent powder on the eyelids as part of the preparation for eye-shadow. The translucent powder will seal the lids and prevent the natural oils from creasing the eye-shadow. WWW.THISISMINK.COM

Look! • Just as a painter would do, make sure you continue to look at your work • Move around your client when working on their look, leaning across them to work on the opposite side of the face will not enable you to create a balanced finish • Step back and look at the make up from a greater distance, you will get an overall perspective and a better idea if you need to correct anything • It is so important to look at the make up during every stage of the look so that if you feel something is not working you can alter it. WWW.THISISMINK.COM

Listen! • Listening to your client is as important as having the technical skill to create their look • Remember there are a lot of things to take into account when doing make up for a Film or for TV • A presenter’s make up needs to be in keeping with the style of the show they are presenting, i.e. subtle for a weather girl and glamorous for something like the X-Factor. You need to talk to them about what they want, ask them what they are wearing. You are more likely to be asked back if you have a good rapport with your client • For a Film or TV programme you need to stick closely to the brief and check with the MD (Make Up Designer) or AD (Assistant Director) that what you are doing is correct.

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Natural makeup - tips • Apply makeup in layers and step back and check the look often • Always check makeup in natural light • Fuller brushes provide a more natural application • Mix makeup with creams or lotions to create your own sheer look • Blend, blend and blend some more • Use separate brushes for different colours and makeup type. WWW.THISISMINK.COM

Glamourous makeup - tips • Apply makeup in layers and step back and check the look often • Powder puffs are great for perfect matte finishes • Eyeliner and false lashes will add drama • Go for a bold lip colour • Red lips - warm reds contain yellow and have more of an orange to brick hue. Cool reds contain blue and look more intense, especially on pale skin. They’re also more of a statement, so should be worn with a light eye. Neutral reds, are true clear reds, usually the brightest reds, however they look soft on the face • Choose lighter shades of red if you are working on mature skin. WWW.THISISMINK.COM

Makeup for TV & Film

Makeup for TV & Film A.

Makeup for Presenters

Period Makeup Looks

1920s

1950s

1960s

Blocking out & reshaping brows

Reshaping Lips

Gallery

Character Makeup

Continuity

Makeup for TV & Film • Makeup for TV & Film is an exciting and diverse world to be part of, there is so much variety and technology is forever changing so you will always be on your toes. • The key things for a makeup artist in this industry are quality of the makeup, timing, research and client care. • With these four strengths the rest will come with time and experience.

Makeup for Presenters

When doing the make up for a presenter remember these key points: • Time: Keep to time • Outfit: Co-ordinate the look with their outfit or create a generic makeup look that will work with multiple outfits • Ask: Talk to client about what they like etc. • Style: Consider the style of the show e.g. a dramatic smoky eye would not be appropriate for a news reader • Be Friendly: If your client likes you then you are more likely to be requested for a job again. Remember you are selling yourself not just your skills.

Makeup for Presenters Making a presenter “Camera Ready” This is where the final checks come in…. • POWDER POWDER POWDER!!! Translucent powder will set the make up. Use it to finish the look • Lips: If your client has been drinking or eating backstage then you need to make sure their lips are touched up ready to go on set • “Stand by” on set so that you can see the presenter on camera and go in and tweak the makeup if time permits (seek permission from the Director). During cuts, actively go and touch up the makeup, lips will get dry through filming and the lights will make the presenter sweat. • Have a small kit that you can take onto set, the make up room is often a long way from the studio or set so you need to make sure you have everything with you. WWW.THISISMINK.COM

Makeup for Male Presenters â&#x20AC;˘ Believe it or not men wear make up too, although a lot of them will screw their noses up when you come towards them with a brush, it is especially needed when they are in front of a camera.

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Makeup for Male Presenters • Male skin has two key differences to female skin: – It is thicker (it has more collagen)

– It produces more oil (sebum) • Male skin also tends to be darker than female skin. • We need to factor these points into the make up application.

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Makeup for Male Presenters Foundation application: • Thicker skin absorbs products less easily, so foundation is more likely to sit on the surface of the skin • Men don’t need as much foundation as women, you just want to balance the colour on their faces for the camera • Mix a little moisturiser into the foundation and really buff the product into the skin. The skin will drink up the moisturiser thus helping the foundation to be absorbed • Avoid applying foundation into the beard area, buff the foundation down from the face to blend into the stubble. If you apply directly onto stubble it will show up and look very unnatural • When using concealer work in a tiny amount of moisturiser to make the product more malleable. Use the smallest amounts so as to ensure the finish is natural and flawless. WWW.THISISMINK.COM

Makeup for Male Presenters Dealing with excess oil: • Remember that as well as the skin naturally producing more oil, they will also be under extremely hot lights while being filmed which will make them sweat • You have added moisturiser to the skin to help the foundation absorb, this will add shine to the skin so how can we combat this problem? • Translucent powder is an absolute MUST! • Translucent powder sets the make up and soaks up excess oils without clogging the skin and increasing the oil production • The powder MUST be translucent as other powders are too heavy for the skin and will actually worsen the problem • Dust the powder over the entire face, work in layers rather than applying a large amount at once. Ensure you especially work it into the areas you have used concealer as well as the T-Zone which generally produces more oil than the rest of the face. WWW.THISISMINK.COM

Period Makeup Looks

• • •

• • • • • •

1920s Cream or ivory coloured face powder was used by most women Later powder corresponding to the natural hue of skin came in fashion For rouge the colours rose, raspberry, and around 1925 also orange were popular Lips were coloured in deep red, deep brownish reds, plum and orange. The shades changed later at the end of the twenties. Colours like rose, raspberry and medium red were a new trend Lipstick was applied as a "Cupid's-Bow" (Armor's Bow) to the upper lip. Also the lower lip was exaggerated a bit and the width of the lips de-emphasized a little Eye brows were thin, black and downward sloping and inked with a black or brown eyeliner The fingernails were painted only in the nail centre. The half-moon and nail tip were left bare and white.

1950s

• The base for the 50's style makeup was a foundation cream, creating a pale, mask-like complexion topped off with flesh coloured powder • Eyebrows were mostly thicker in the inner corner and tapered out to a clean point. It was customary to tweeze brows to a clean line and then to use a pencil to darken and thicken • The winged/cat eyeliner was a very important part of the look • Lip shapes, for the regular girl, followed the basic shape of the natural mouth, but in Hollywood, they began to taper the fall from the peak to the outer corner for a droop, mimicking an innocent smile • The most duplicated look of the era is Marilyn Monroe's. Her blond 'bombshell' image, sultry red lips and thick eyeliner, is one that has been sought after for many years.

1960s

• Dramatic eyes, featuring mascara used heavily, producing spiked lashes • Shadow is coloured or dark • Skin is pale, often from foundation or powder called "translucent“. Bronzer was also used • Lips are pale or glittering, rarely showing dark shades • Eyebrows were neat and quite thick. Some would shave off their eyebrows and draw them on.

• • • • •

Blocking out & reshaping eyebrows Wax Eye-brow plastic e.g. Kryolan Soap Using concealer Dyeing the brows

Wax and spirit gum • Brush the eyebrows with spirit gum against the natural shape of the hair • Then brush the hairs up to flatten them against the face as much as you can. This must be done relatively quickly before the Spirit Gum starts to harden. This creates a flat surface for you to apply the wax. It also prevents the eyebrow wax from ripping out eyebrow hairs • Next take a small bit of eyebrow wax and work it in your fingers to soften, then cover the eyebrow completely. Use a thin layer but make sure you get rid of the ridges of the hairs. It gives the appearance of smooth skin and doesn't let the eyebrow show through. Blend out the edge of the wax • If you don't use the wax, the texture of the eyebrow hairs will still show through under the foundation • Next apply the foundation and MAKE SURE that it matches your skin tone and set with powder • To remove, wipe of the foundation with a baby wipe or face cleansing pad, then scrape the wax out of the eyebrow and use spirit gum remover to get rid of the rest. WWW.THISISMINK.COM 81

Pritt Stick • Clean the eye area and eyebrow with eye make up remover to make sure the area is oil free. Dry the skin with a tissue and comb through the eyebrow hairs so they lie smooth and flat • Apply a generous layer or Pritt stick to the eyebrow but ensure it is smooth across the hairs. Wait for it to dry which should be a matter of seconds then reapply another layer • Repeat this step until the eyebrow is completely covered and the hairs and smooth and flattened • Powder over the brow • Apply foundation or concealer which matches the colour of the face, powder over it to set. The brows should have now completely disappeared and you should have a smooth even surface • To remove: Pritt stick is a washable product so everything will come off with soap and water or makeup remover.

Eyebrow plastic • Eye-brow plastic e.g. Kryolan • A wax preparation to “block out” the eyebrows to allow creation of different eyebrow shapes or effects

• First use a spatula to apply Eyebrow Plastic against the natural direction of eyebrow hair, then in a second step in the same direction as hair growth. Moisten the fingers with gel, and then smooth out the surface of the wax. Smooth out and level the edges. Thinly coat the surface of the wax with Sealer, and then apply colour make-up as required. WWW.THISISMINK.COM

Soap • Wet bar of soap (glycerin soap not cream based soap like Dove) and your mascara or eyebrow brush. Drag the brush/wand over the soap and create a lather • Brush soap through brows making sure to cover every hair • Let brows dry, so they're hard to the touch

• Pack on a thick layer of concealer and blend out • Repeat until brows are covered completely • Apply foundation over the concealer and blend • Set everything with face powder. WWW.THISISMINK.COM

Dyeing eyebrows • Thoroughly read the directions on hair colour package • Dip cotton swabs in petroleum jelly and carefully line the area outside of eyebrows top and bottom with the jelly. This

technique will keep any stray colour from staining the skin • Dip a toothbrush into the hair colour and gently brush it into eyebrows in the direction of hair growth. Be certain not to miss any spots. Be very careful! • When the allotted processing time is reached, remove the colour from eyebrows with a clean wet cloth, make sure to remove any excess on skin. WWW.THISISMINK.COM

• • • • •

Reshaping Lips Conceal Powder Draw/Line lipstick Apply lipstick Apply lip gloss

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Character Makeup

Character Makeup Makeup is a wonderfully clever thing! In everyday life we use it to enhance our natural features through colour and texture. In Film and TV, makeup can be used to create an illusion. Some examples of the illusions created on screen are: • Age • Illness • Temperature • Tiredness With simple skills and techniques you can create a totally different person using makeup.

Ageing When creating the illusion of age, remember these keys points: 1. Colour 2. Contouring 3. Definition

Ageing Colour: • You will notice in older people that the natural colour of their skin will be paler and even sometimes have a grey tinge to it. This is because as we get older our circulation is not as good, so the blood flow to the face will not be as strong as it once was • Use a foundation a shade or two lighter than the natural skin colour, you can work in colours like white and grey afterwards. An all over grey face would look more “dead” than “old”. We want the illusion to be realistic and believable • Brown is a good colour to use to create the illusion of tiredness which is often associated with age, under the eye and on the eyelids. Brown is also a warming colour so will work well with the contrasting coolness of the grey to create a more balanced natural look.

Ageing Contouring: • We use contouring to create the illusion of shape • The create the illusion of age we use contouring to create the illusion of sagging and sallow skin. One of the key areas to create the illusion of sagging are the two lines from the nose down to the corners of the mouth. By contouring these lines downwards it automatically draws the face down creating a sagging effect • Contouring under the eye instead of highlighting will make the eyes look sallow and tired, we would then highlight the apple of the cheek to make the effect on the eye even more dramatic.

Ageing Definition: • All faces have characteristics and lines, by defining them we can create the illusion of age • Key areas that when defined will create the illusion of age are: • The eyes • The forehead • The mouth • We can define these features by using colour, this creates a 3D effect and when blended properly will look natural on the skin • A dark line will create the illusion of a deeper line and sunken skin • A light line will lift the skin and bring the feature forward.

Ageing Skin is paler and in some areas has a grey tinge

The lines on the head have been defined using a dark colour making the forehead appear more wrinkled

Contouring has been used to create the illusion of sallow cheeks

The area under the eye has been highlighted which creates the illusion of puffiness The lines from the nose to the corners of the mouth are defined creating a â&#x20AC;&#x153;saggyâ&#x20AC;? appearance to the face.

Ageing - Gallery

Winona Ryder was aged for her role in Edward Scissor Hands - 1990

Ageing - Gallery

Lyndsey Lohan was aged to play the role of Elizabeth Taylor - 2012

Ageing - Gallery

Kate Winslet was aged for “It’s better in the dark”

Ageing - Gallery

Nicole Kidman was aged for her role in â&#x20AC;&#x153;Hemmingway and Gellhornâ&#x20AC;?

Ageing - Gallery Kate Blanchett was aged for her role in â&#x20AC;&#x153;The Curious Case of Benjamin Buttonâ&#x20AC;?

Ageing - Gallery

Julianne Moore was aged for her role in â&#x20AC;&#x153;The Hoursâ&#x20AC;? - 2002

Ageing - Gallery Heath Ledger was aged for his role in â&#x20AC;&#x153;Brokeback Mountainâ&#x20AC;? - 2005

Ageing - Gallery

Leonardo DiCaprio was aged for his role in “J Edgar” - 2011

Ageing - Gallery Brad Pitt was aged for his role in “The Curious Case of Benjamin Button”

Illness Bringing forward what we have learnt from how to create the illusion of age, we can adapt these same skills to create other illusions. Remembering the key factors of: â&#x20AC;˘ Colour â&#x20AC;˘ Contouring We can transform someone normal and healthy looking into someone who looks like they need to be in bed or in hospital.

Illness Colour: • Colours associated with illness are: • Green • Yellow • White

• Grey • Blue • Brown

• Adding subtle hints of these colours into the complexion can quickly make someone look quite unwell Contour: • Similarly with ageing, contouring can have a very dramatic effect • We can make the cheeks look hollow and gaunt using contouring.

Illness Red is used on the eyelids to make them appear sore

Blue is used in the lips to create the illusion of poor circulation. Powder is used to matify the lips and make them seem dry.

Yellow is used to make the actor look more unwell

Contouring under the eye makes them seem sunken in.

Illness – Gallery

Kristen Stuart In “Breaking Dawn” - 2011

Illness – Gallery

Angelina Jolie “Girl Interrupted” - 1999

Illness – Gallery

Bittany Murphy “Don’t Say a Word” - 2001

Illness – Gallery

Clare Danes “Homeland”

Illness – Gallery

Gwyneth Paltrow “Contagion” - 2011

Illness – Gallery

Joseph Gordon-Levitt “50:50” - 2011

Illness – Gallery

Kristen Stewart “Panic Room” - 2002

Temperature The illusion of temperature is easily created with colour. You can also enhance the effect using a couple of special effects make up products. 1. Glycerine 2. Ice powder/crystals/gel

Temperature Glycerine: • Glycerine is used in makeup to create the illusion of sweat. We use this because it is a thick product almost like syrup that sits on the surface of the skin and forms beads. • Water is not really effective on camera as it dries quickly and is absorbed into the skin. You can mix water with glycerine to thin it out and create a “sweat spray”.

Temperature Ice Powder/Crystals/Gel â&#x20AC;˘ We use these products to create a dramatic illusion of severe cold. They are safe products to use and very effective on camera. Use these products to enhance the use of colour to make someone look extremely cold. You can use them subtly or in excess for a powerful look.

Temperature – Gallery

“Edward Scissors Hands”

“Texas Chainsaw Massacre”

Temperature – Gallery

“Frozen”

Temperature – Gallery

“The Lion, The Witch & The Wardrobe”

Temperature – Gallery

“247 F”

Temperature – Gallery

“The Good, The Bad & The Ugly”

“Black Narcissus”

Bruises â&#x20AC;˘ The world of Special Effects is exciting and creative, however it is not to be confused with prosthetics. We use special effects to enhance make up looks whereas prosthetics are used to create an entire look and add pieces to the face or body.

â&#x20AC;˘ The main use for special effects is to create wounds, but we can also use them to create, sweat, tears, ice and dirt.

Bruises • The most important aspect to remember about special effects makeup is PRACTICE • Wounds etc. are a mixture of product use and colour knowledge only by practicing will you become used to what creates a natural look and balance • A wound also often has texture to it, again by experimenting with products you will be able to create gruesome wounds that will make people shiver! • Colours in bruises: • Blue • Red • Yellow • Green • Brown

Bruises Bruises on white skin

Green and brown are used round the eye socket and nose to create more depth as well as the fading edges of the wound to ensure it looks more realistic.

Blue and red together form purple and the deepest area of the bruise where the blood vessels have been burst

Yellow is used on the outer edge of the bruise where the damage is less

Bruises Bruises on black skin: Brown and blue are used down the nose to dramatise the wound in contrast with the skin

Red and brown are the most dominate colours used in bruising on black skin

Red with a hint of blue create a natural illusion of soreness and swelling.

Cuts A slight shine makes the wound look fresh

Texture creates a more 3D wound.

Faded colour makes the wound look more realistic, bruising on a wound doesnâ&#x20AC;&#x2122;t just stop abruptly in fades out into the undamaged skin.

Brown is used to create the illusion of dirt on the wound

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“Iron Man 2”

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“The Expendables”

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“The Matrix Revolutions”

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“Buffy The Vampire Slayer”

“Lisbeth Salandar Editorial”

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“Doom 2”

“G.I. Jane”

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“Fright Fest”

“Life Blood”

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“30 Days of Night”

“Thor”

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“Mr & Mrs Smith”

“Skyfall”

Continuity • In fiction, continuity (also called time-scheme) is consistency of the characteristics of people, plot, objects, and places seen by the reader or viewer over some period of time. It is of relevance to several media • Continuity is a key part of a makeup artists. If you are filming over a number of days it is likely that scenes will not be filmed in order or certain parts of scenes will be shot later or twice. It is vital that the make up you have done for the character(s) is exactly the same as the make up you did originally for that scene, otherwise when the scenes are all put together the characters will look odd and it will not flow. • Key tips to ensure continuity are: • Take pictures • Take notes • Know your call sheet off by heart

Fashion & Media Makeup

Fashion & Media Makeup A. Introduction Creative Makeup B. Creative Eye Makeup C.

Smoky Eyes

Eye Brows

Adding Texture

Lip Art

Fashion & Media Makeup

Makeup for Fashion & Media is a world without limits, full of creativity. Your imagination can come alive when planning looks for shoots, from Vogue to advertising campaigns and London Fashion Week to the Milan runway, make up in this field is an exciting adventure to be in. This is a fast pace and highly competitive industry so if you are not afraid of a challenge this is definitely the route for you!

Creative Eye Makeup

• The eye is a beautiful and extraordinary thing. For many of us our eyes are our key feature. By dressing the eyes we can create a magical look and there are no limits • Colour, texture and sparkle can all be added to eye make up to make a look stand out and make a statement • Don’t be afraid to experiment with products and textures. You will soon know if a look isn’t working • Makeup artistry is about trial and error, if we didn’t make mistakes we would never learn.

Creative Eye Makeup Using Pigments and Glitter: • Pigments can be pressed into eyeshadows to dramatise and accentuate the colour • You can also mix them with media mix to create cream liners and shadows • A light dusting of a pigment can create a colourful glow and shimmer to a look • Glitters automatically add glitz and glamour to a look • Glitter can be used as a dusting to add a little sparkle, or all over the eye for a dramatic look • Glitter is so effective in a shoot as the particles catch the light accentuating the sparkle

Creative Eye Makeup

The glitter has been pressed into the cream shadow to accentuate the depth of colour and add a glamorous finish

Less glitter is used in this corner. The graduation creates dimension to the look

The glitter particles under the eye will catch the light and add subtle glamour to the look

Creative Eye - Gallery

Smoky Eyes

• There are several ways to achieve a smoky eye makeup look and it can be achieved with any colour. • To create a smoky eye for a shoot you need to take the knowledge and techniques that you have learnt and dramatise them. Key tips are: • More colour • Blend further • Take it lower

A subtle smoky eye

A dramatic smoky eye

Smoky Eyes The colour depth at this point brings the eye in and down creating a different shape

Black liner has been used to define the eye shape

The pink and white on the brow bone lifts the eyebrow and highlights the look

Eyeshadow has been blended down and around the lower lid to add drama

White liner on the inside lid makes the eye â&#x20AC;&#x153;popâ&#x20AC;?

Pink adds a contrast to the look as well as making a statement.

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Eyebrows

• A beautifully shaped eyebrow can frame a look perfectly • Study how the eyebrow follows the shape of the eye • There are different ways of styling the eyebrows, from grooming them neatly to back combing them and sometimes getting rid of them completely! (see blocking out eye brows in Period Makeup section)

Eyebrows • When shaping the eyebrows for a makeup look, use simple techniques • Do not use tweezers, as this will leave the skin red and sore and you will not be able to cover it well enough before the shoot • Firstly we comb out the eyebrows - follow the direction of the hair growth and comb them gently so the hairs all sit neatly in the same direction • To add definition we use a powder or cream • Depending on the look, we normally go for a colour a shade or two darker than the brow hair so that it creates a more dramatic definition.

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Adding Texture

Texture can be a key addition to a look design. Texture creates dimension and drama to a look. A product that works well when incorporating texture into a look is grease paint. Grease paints are high pigmented paints which have a â&#x20AC;&#x153;wet lookâ&#x20AC;? to them. They are used in shoots and are very effective, but they must be worked with quickly because they will crease as they do not dry.

Adding Texture Grease Paints

The vibrancy of the colour alone adds drama and immediately turns it into a â&#x20AC;&#x153;High Fashionâ&#x20AC;? look

The pink, yellow and turquoise are contrasting, but work well together. Colour knowledge is key is this industry

The pink that has been used is brought down onto the face and contours as a blusher would

Adding Texture Texture in makeup can be achieved in four main ways: 1. Feathers and jewels 2. Face Lace 3. Lashes 4. Stencilling

Adding Texture Feathers and Jewels â&#x20AC;˘ Feathers and jewels can be so easily incorporated into a look whether in a subtle way or to be the dominant feature. Feathers can be added into eyelashes or can be stuck so they look like they are coming from the hair. There are so many ways in which they can be used. Again it is all about experimentation. You want a texture to add something to a look, to be an enhancement, you donâ&#x20AC;&#x2122;t want it to drown the look.

Adding Texture Although feathers are the dominating force of this look they are used only in one area. The rest of the make up consists of a flawless base and soft cheek. This is what makes a look work.

The feathers have been placed so they move up into the hairstyle, this creates a flow to the look. The hair and make up must work together for a look like this to work

Grease paints have been used on the eyes because the vibrant colours are in keeping with the feathers. Subtle shadows would be lost and pointless in a look of this style

Gallery

Adding Texture Face Lace â&#x20AC;˘ Face lace is a beautiful and very clever invention. It can be used on its own or as enhancement of a make up look. There are many different designs that are available and you can cut it how you want it. It is self adhesive so it makes it very easy to use. It can be used to create either delicate soft looks or harsh sinister looks. It is a delicate product to use and can tear easily so handle it with care. Practice makes perfect. Most importantly it is a product to enjoy working with.

Adding Texture The design is worked delicately around one side of the face so that the look is flowing

The rest of the make up works with the lace, it is simple and flawless and the red lip adds a beautiful contrast and drama.

The lace works into the hair line. The hair style follows the shape of the lace making the hair and make up work as one.

The lace is used over the brow and into the eye socket so work with the simple black line and become the eye make up

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Adding Texture Lashes â&#x20AC;˘ Lashes are the cause for universal jealousy in women all over the world. We want longer lashes, thicker lashes, even darker lashes. There are ways to extend, curl and darken our lashes available to us in store and salon, but in fashion we take lashes to the next level. Bringing forward the skills you have learnt about applying lashes in the beginners course, you are now about to apply lashes which are a lot more fun and exciting. There are a multitude of lash designs available on the market, but it is just as easy to create a pair yourself. Just buy a pair of normal lashes and add what you want to them.

Adding Texture The different sized feathers create dimension to the look as well as the colours. The eye make up works well with the lashes. The black adds definition and drama. Colour and jewels are used in the lashes here to create a different look. The lashes are neat and the jewels in line so the look is smooth. The eye make up works with the lash colour so in this look the lashes are not about creating a contrast.

Adding Texture The two tones of green and black create the illusion of layers of lashes. The black lashes are thick and short whereas the green lashes are long and thin. This bring two textures to the look. The yellow worked into the eyebrows and cheeks provides an effective contrast to the lash colours.

There is so much going on with this pair of lashes, but it works so well with this look. The different lengths create texture and the burst of colour in circular shapes adds drama and unique style. The rest of the make up is simple in contrast so as not to make the look overpowering.

Adding Texture - Gallery

Adding Texture Stencilling â&#x20AC;˘ Stencilling is an easy and fun way to add texture to a make up look. You are not limited to one area of the face and you are not limited on shape or colour. You can buy a variety of different sized and shaped stencils in stores. Alternatively you can make your own. Stencils can be re-used so it does not have to turn into an expensive way of creating a look. There are so many ways to experiment with stencilling from the style of stencil to what you apply the product to the stencil with.

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Adding Texture Stencils can have cut outs in them to create a variety of shapes.

Detail can be added to the design after it has been stencilled on

Different colours are used to create definition and depth the white acts as a contrasting colour for the more detailed aspects of the design.

Stencils can be any size or shape, this design creates the illusion of a mask across the face.

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Lip Art

Lips come in a variety of shapes and sizes and generally we are never content with what we have. They are either too big or too small, too fat or too thin. People have collagen pumped into their lips and lines tattooed around their lips to change the shape. For a fashion shoot there are a number of things we can do to the lips to make them the dominant part of the make up. Moving away from just lipsticks and glosses we are going to explore the world of Lip Art. There are three main areas of Lip Art: 1. Contrasting Lips 2. The Rainbow Lip 3. Lip Tattoos

Lip Art Contrasting Lips When we do a normal lip, we line it with a colour either similar to the lip itself or one that matches the lipstick we are using. Lipstick or gloss is usually one colour and one tone. In a contrasting lip we use different colours for the line and the fill to create a dramatic effect and an ultimately defined shape. We can use one colour for the top lip and another for the bottom. The beauty of the contrasting lip is that you can use any colour you want. It is a high fashion look so there are no limits.

Lip Art The lip is lined perfectly so the shape is defined. The pink will be used first as it is the dominant colour of the look.

The pink and yellow work well together because they are contrasting colours

The yellow is at its strongest point in the inner part of the lip. It then fades to make a smooth graduation

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Lip Art The Rainbow Lip • The rainbow lip is great fun to do and really easy to master. There are so many varieties to this look, but the key is colour. With a great rainbow lip the rest of the make up can be simple as this can be the dominant feature of the look. • To Create a rainbow lip: • • • • • • • •

Line the lips precisely with a colour of your choice Staying within the lined lip, apply a VERY generous layer of a sticky gloss Choose at least three colours (in pigment or glitter form) Apply the pigment with a small brush by dabbing very gently onto the lip DO NOT DRAG the product Keep dabbing different colours to different areas of the lip until it is completely filled with colour The pigments will merge with the gloss so there is no need to blend Ensure the model doesn’t blot his/her lips together because that will ruin your work

Lip Art The shape of the lip is defined with a liner so that the colour does not bleed out

A variety of colours are used to create more dramatic effects. The pigments or glitters are dabbed on the gloss in different areas of the lip.

The gloss works as a glue to hold on the pigments or glitter as well as binding them together to fill the lip space

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Lip Art Lip Tattoos • Don’t be fooled by the name, a lip tattoo is most definitely not a permanent make up feature. They work like a transfer. They can be quite tricky to initially master but they are a great way to create a detailed design on the lip which is quite a difficult surface to work on. How to put a lip tattoo on: • Most packets will have instructions so follow their step by step guide • POP: Remove the appliqué out of it’s stencil. • MEASURE: Line the centre of the top lip appliqué to the cupid and measure the width and depth of the lip with the mouth open to a wide “Ahh” Shape. Make sure to stay outside the water line. Remember that the edges of the mouth also have a waterline that you need to cut to.

Lip Art How to put a lip tattoo on: • CUT: Cut to the measurements using the horizontal and vertical guides on the back of the lips. • PEEL: Peel the plastic film off the appliqué. • APPLY: Put the sticky side of the appliqué on the lips, making sure to keep the mouth in the wide “Ahh” shape. Soak the paper backing in water using a cotton ball until the paper starts to slide off. • SEAL: Seal and smooth the appliqués with a generous amount of water using a cotton bud. • WAIT: 5 minutes for the lips to fully dry before you apply any product over the lips, eat or drink

Lip Art The tattoo is cut so that it fits the lip shape perfectly, this makes the look more effective as if the lips naturally have a pattern on them.

Lip tattoos are so effective that they can be the dominant feature of the make up.

Once the tattoo has set and dried you can apply products like gloss and glitter on top of them for extra effect.

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Creativity – Creative Thinking How do I find creativity within me? How do I discover the joy of creative thought?

Here are 5 ways to do it • Remove creativity killers – you need to eliminate attitudes that devalue creative thinking. If you think you have a great idea, don’t let anyone talk you out of it even if it sounds foolish. You can’t do something new and exciting if you force yourself to stay in the same old rut • Think creatively by asking the right questions • Spend time with creative people – creativity is contagious. It is a fact that you begin to think like the people you spend a lot of time with. The more time you spend with creative people engaging in creative activities, the more creative you will become.

Creative thinking • Get out of your box – the most effective way to help yourself get out of the box is to expose yourself to new paradigms. One way you can do that is by travelling to new places. Another is to read on new subjects • Many people mistakenly believe that if individuals aren’t born with creativity, they will never be creative. However, creativity can be cultivated in the right supportive environment.

Creative environment A creative environment • Encourages creativity • Embraces those who are creative – spend time with other creative people • Focuses on innovation, not just invention – creative people say, “Give me a good idea and I’ll give you a better idea!” • Is willing to let people go outside the lines – remember, most limitations we face are not imposed on us by others; we place them on ourselves. Lack of creativity often falls into that category. If you want to be creative, challenge boundaries • Appreciates the power of a dream – A creative environment encourages the use of a blank sheet of paper and the question, if I could draw a picture of what I want to accomplish, what would that look like?”

Designing Makeup Looks

Designing makeup looks A.

Mood Boards

Face Charts

Record Sheets

Basic Makeup Looks

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Designing makeup looks • It is often easier for people to comment on ideas that are presented to them visually • ‘Mood boards’ – a collection of sketches, pictures, words, even textures or colours e.g. a selection of images, could be used to show sources of inspiration. Materials and products can also be demonstrated. The mood board will also be accompanied by a final image presenting the design in its entirety • Face charts – used to present a makeup design or as a reference of a makeup lesson or makeup consultation. WWW.THISISMINK.COM

Mood Boards

A mood board is a type of poster design that may consist of images, text, and samples of objects in a composition of the choice of the mood board creator. Makeup artists use mood boards to develop their design concepts and to communicate to other members of the design team.

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Face Charts

Drawing sketches Putting ideas on paper To visually translate client requirements Useful as it helps other members of the team to fully understand the makeup look/idea • Sometimes describing the image you have in mind can be hard and can generate misunderstanding, a face chart provides a clear visual for all concerned • Also provides a list of products used, position on the face and any special instructions for application, so that another artist/team member can follow. • • • •

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Face Charts

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Record sheets

• Record sheets or cards for both male and female performers should be kept by the makeup artist • Should contain all the notes about the makeup, including the type of makeup used, where and how it is applied and any special requirement which may be needed • Polaroid pictures should also be taken for reference of the makeup along with a record sheet • These should be kept safe in case a retake occurs. WWW.THISISMINK.COM

The Business of Makeup A.

Career Paths

Working as a Makeup Artist

Your Portfolio

Marketing Yourself

Insurance

Customer Care

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Career Paths

â&#x20AC;˘ Makeup artists usually work in one or more of the following main areas: Film and Television

Theatrical

Bridal

Potential Career Paths

Fashion and photographic

Cosmetic Camouflage

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Makeup for Photography â&#x20AC;˘ Applying makeup for photo shoots involves specific techniques that depend on a number of factors: Lighting: Indoors or outdoors? Film or digital technology? Colour or black-and-white? Style: What image does the photographer want? â&#x20AC;˘ Making a photograph is a collaborative effort. As the makeup artist you are part of a team that includes; the photographer, the stylist, the hair stylist, the dresser, and the editor (if it is a magazine shoot), publicists and handlers (if the subject is a celebrity), and the subject being shot. WWW.THISISMINK.COM

Makeup for Photography • Your job is to be true to your own style, yet be open to understanding the requirements of the stylist, editor and model; and to create a makeup look that works • The only way to accomplish this is to communicate with everyone on the set and to be observant • Don’t ever be embarrassed to ask questions or to give your opinion • Throughout the process also ask for feedback. WWW.THISISMINK.COM

Makeup for Photography • After you have applied the model’s foundation, let her look at it in the mirror to see if she thinks it looks right. It is much easier to change things at this stage than to wait until the whole face is done • When analysing the first shot, get the photographers opinion on how the makeup is working – or not – with his/her lighting • Once the shooting starts don’t think that your job is done. You need to stand by the set with your tools – powder, blush, lipstick etc. WWW.THISISMINK.COM

Makeup for Photography • Watch the model through a pair of mini binoculars to keep a close eye on how the makeup is holding up and what might need fixing • Exaggerate the effect you are trying to create – film has a tendency to neutralize, so the colour needs to be much stronger than what it would be in real life • Over do it and then assess it not by how it looks to your eye, but how it looks on camera. WWW.THISISMINK.COM

Makeup for Magazines • The difference between doing basic makeup and doing makeup that is over the top for highly styled fashion shows or magazine work is thinking outside the box • Doing the unexpected – whether it is as simple as not putting on mascara or brows to a finished face or strengthening the brows to become a full blown experimental piece • That is the difference between “basic” beauty and editorial freedom. It is about being confident enough to experiment outside of your comfort zone. WWW.THISISMINK.COM

Makeup for Fashion Shows • The makeup artist must be able to speak about the designers vision and the current style trends • The final look on the runway is a collaboration between the designer, the makeup artist, the hairstylist and the model • Working with models is like working with a blank canvas. You can experiment and try things that would probably look horrible on a real woman but look great on the runway or in a photo. WWW.THISISMINK.COM

Makeup for Fashion Shows What happens before the show? The makeup test • Research designer’s design style and history • Meet with designer to discuss the look • Your role is to interpret the designers vision • Ask a lot of questions and keep asking until you feel confident that you have the right vision • Do some trials and experiment with some options to show the designer • Once the final look is approved, sketch it. WWW.THISISMINK.COM

Makeup for Fashion Shows • Purchase anything you think you will need that is not already in your kit • Complete a face chart that includes all of the products, with colour identification, location on the face and any special instructions needed to complete the look • You will need a makeup team • Find out how many models will be walking and hire one artist for every two to three models. WWW.THISISMINK.COM

Makeup for Fashion Shows What happens during the show? • Stay calm – there will be plenty of chaos, lots of distractions and last-minute emergencies • Be flexible – sometimes makeup is completely changed 30 minutes before the show • Arrive two to four hours before the show is scheduled to begin • Start by using one of the models to do a trial run of the makeup • When makeup is done bring her out onto the runway so you and the designer can check the results under the lights. WWW.THISISMINK.COM

Makeup for Fashion Shows • Once the look is approved the team begins to work • Adjust the colours for each models skin tone • Many models will arrive backstage from another show, if they already have makeup on and you only have minutes to change their look completely get them to wipe off their lipstick and eye shadow, you can have them leave the foundation and mascara on, but you must check it carefully to determine whether it will work with the look you are trying to create. WWW.THISISMINK.COM

Makeup for Fashion Shows • Right before the show begins you need to check the models for refreshing or additional powder to combat shine • Even after the models start heading down the runway your job is not done, as the models change clothes they might mess up their lips, or they might need a touch-up with powder • Your job is to continue standing by, ready to fix whatever might need fixing. WWW.THISISMINK.COM

Makeup for Television and Film • There is a misconception that makeup done for television has to be heavy. That is not the case. Use the same products you would normally use. Just make sure they are pumped up a notch and perfectly blended • Brighten the under-eye area then set with loose powder. This is absolutely necessary as television lights increase shine • Use full coverage foundation followed by powder to keep it matte. Sheer tints are too subtle for television • Even if a glow is required, it needs to be added to the cheeks at the end of the makeup application. WWW.THISISMINK.COM

Makeup for Television and Film • Colour tends to wash out, so always use two shades of blush – one natural shade followed by a brighter pop of colour • Avoid lip colours that are too light, unless the subjects lips are so full that you want to downplay them • Define lips with pencil • Make sure hands, arms, neck and ears all match the face. WWW.THISISMINK.COM

Makeup for Television and Film High definition television • High definition television is extremely unforgiving. The makeup you apply has to be both fluid and perfectly blended. Foundation that is not correctly applied will look like its melting off the face • Always check makeup in the monitor to see how it works with lighting • Blemishes need to be expertly covered. WWW.THISISMINK.COM

Makeup for Television and Film Film • Directors, lighting and scripts dictate what style of makeup needs to be done • Communicate with everyone involved, ask lots of questions and do lots of testing • The real makeup challenge when working on film is maintaining continuity. Scenes are often shot out of sequence and your job is to make sure the character looks the same in each scene • It is a slow process so always have a digital camera and a notebook to keep track of the shots. WWW.THISISMINK.COM

Working with Celebrities • Working with celebrities is fun and challenging • Just like every woman they want to find a look that is right for them while looking beautiful • Whether you are doing their makeup for an early morning television appearance, a movie premiere, a photo shoot, or the Oscars, you have to adapt the look to suit the clothes, lighting and occasion • Go slowly, ask a lot of questions • Hand her the mirror frequently to avoid getting big surprises at the end of the application. WWW.THISISMINK.COM

Bridal Makeup • Do a consultation before the wedding day • Apply makeup in natural light (preferably day light) • Use a moisturiser that will prepare the skin for makeup • Emphasise the eyes • Warm up the neck and chest with a dusting of bronzing powder • Use two shades of blush • Choose a lipstick that is one or two shades brighter than what the bride would normally wear. Pinks, roses and plums are great choices for brides. WWW.THISISMINK.COM

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Bridal Makeup • Use a water resistant liner that can withstand tears • Choose mascara that’s waterproof • Pack a small bag of essentials, including a sewing kit with pre-threaded needles and a pair of tiny fold-up scissors to fix a dropped hem etc pre-wrapped wipes, static spray and lint remover, small bottle of perfume • Set makeup with finishing/setting spray. WWW.THISISMINK.COM

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Bridal Makeup Consultation • A learning experience for you and the bride • Take very particular notes and what you did and which products you used and even a photograph of your finished work • Ensure you have the appropriate lighting before doing the makeup i.e. If you have a daytime wedding use natural daylight etc. • Do not under any circumstance apply the makeup while the bride is in her wedding dress • Over prepare. WWW.THISISMINK.COM

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Working as a Makeup Artist

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Working as a makeup artist • Negotiate fees based on the type of production, your experience and track record • The minimum pay as recommended by the Producers Alliance for Cinema and Television (Pact) and BECTU is £100 per day for a junior makeup assistant and £150 for a senior makeup artist • Daily rates: Commercials around £500 a day, Fashion/editorial work ranges from £200-£2,000, while top makeup artists can earn more than £3,000 • Artists with published work ‘tear sheets’, can negotiate additional fees for their published work with companies that use them • Established makeup artists often have agents who find them work. WWW.THISISMINK.COM

Working as a makeup artist Pitfalls • It is important to have a good portfolio but beware of dodgy photographers or agencies “doing deals” • Make sure you know everything about the assignment and client beforehand! • Being abroad is one thing, but a shoot is hard work and you rarely get the opportunity to be a tourist • The job is unstable and many artists spend their working life as freelancers. Many people don't get regular holidays with budgetary and time constraints • Unless you have a full-time job with a pension, you must make your own arrangements and manage your accounts. WWW.THISISMINK.COM

Your portfolio

• Your make up artist portfolio needs to demonstrate your unique style and passion as an artist • Display technical traits you excel in as well as simple skills you have mastered and personalized • You should also be sure to show your versatility to the client so they can use you for differing projects in the future • Although you need to demonstrate a unique vision, presenting yourself in a professional demeanor is always a necessity in any business. WWW.THISISMINK.COM

Your portfolio • Ensure your portfolio is presented well and invest in a professional ‘display book’ or portfolio • A professional looking portfolio will give a good impression of your work and encourage prospective clients to look through your designs • Catch the attention of the client with your first photo • Design sheets and photos should have neat straight edges • Don’t put mediocre pictures into your portfolio • Wherever possible have models in your pictures looking into gatefold • Black and white photos and drawings are best mounted on black, white or cream mounts. WWW.THISISMINK.COM

Your portfolio • If you have worked with well-known people, show off the make up you have done on them to demonstrate your notability • If your work has been published in a magazine or catalogue, place that most highly accredited title you have first • If your work has been published in a commercial, movie, or TV show, take a still from that work that accurately shows your make up as well creates a beautiful shot that will catch the client's eye • When using pictures of your work that you've taken yourself, be sure to keep in mind the entire layout of the shot instead of just the make up itself. For example, instead of simply taking a picture of your subject in the chair you did the make up in, take the subject outdoors or somewhere with a nice background to add to your photo. This minor detail will make a huge impact in the client's eyes. WWW.THISISMINK.COM

Your portfolio • Be a knock-out - Ordering the work in your portfolio is always going to be important. Begin the portfolio with a great piece of work, settle down and be steady in the middle, then finish with your very best piece of work. Leave them with something to remember • Create your own identity - View the creation of your portfolio as the ultimate self-initiated project - one where you don't limit yourself in any way, shape or form. Your portfolio is the most effective extension of your creative self • Search for the killer idea - If you can come up with something truly original and striking in the way you present your portfolio, you've already won half the battle • Show your skills - pack your portfolio with work that shows you know how to approach a project in an innovative and unique way.

Marketing yourself

• Design a business card for yourself. It is not a good idea to put both your phone number and address on the card, in case it ends up in the hands of someone unscrupulous. However a phone number, email address, and website details are all useful information for potential clients. Remember clients will receive many business cards, so try to make yours stand out • Remember you are only as good as your last job and a poor reputation is very hard to shake off • Ensure local photographers know about you • Network and make contacts. WWW.THISISMINK.COM

Marketing yourself • Get online… the fastest way for people to see your work and find out about you is by looking at your website. You don’t need hundreds of images, just a couple of examples of your work is a good place to start.

Stand out from the crowd Perfection Innate ability to enhance a woman’s face Exude complete confidence Inspire the subject, build up their egos, make them feel truly beautiful, give them the confidence to stand in front of the camera lens • Creativity – always look for inspiration • Never become complacent, always be excited. • • • •

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Stand out from the crowd • Work Experience is key when beginning a career in makeup • The more experience you have, the more likely it is that you will be hired for a job • Be prepared to work for nothing • Take notes when you are shadowing someone • Never take the credit for someone else's work, you will be black listed in the industry and will not find any work • Make sure you are always on time for a job, plan your journey in advance • Keep your kit clean and tidy remember your training on hygiene, a make up artist will send you home if your brushes and kit are dirty.

Collaborate and Network • Collaborate with photographers and models so you can do test shoots to build up your portfolio • Register with online casting sites, create a profile and when people are looking for a makeup artist they can see your work and CV • Network - go to events and start meeting people. People like to put a face to a name • Get yourself on Facebook and Twitter, social networking is a fast and popular way to get yourself known • Research businesses that provide make up artists for people, it is a good way to get started and they find all the work for you.

Word of mouth recommendations • When you are getting started, welcome the opportunity to work with as many people as possible, if they like you they will recommend you which will lead to more work • Remember a lot of the people you work with will also be freelancers, so if a crew of twenty people on a job think you are good, that is potentially twenty more jobs you will get afterwards • Have a feedback page on your website so clients can leave comments that people can see when looking at your business which will give them confidence in booking you.

Insurance

• Insurance is important to protect makeup artists against legal claims, loss or damage • Professional indemnity insurance will protect against having to pay damages and legal costs should a claim be made against you. Every makeup artist should have this insurance • Public liability insurance is a general term applied to forms of third party liability insurance with respect to both bodily injury and property damage liability • Theft, loss or damage of makeup kit and equipment - Without insurance the contents of your kit, which you probably built up over a period of time, may be irreplaceable because of cost. WWW.THISISMINK.COM

Customer Care

• Customer service is one of the most important skills to learn in any field of work • Develop these skills to excel as a makeup artist 1. 2. 3.

4. 5.

Be a good listener – Listen intently and ask questions and summarise the answers of your customers Great communication skills – Learn how to effectively communicate with your customers. Know when to listen, when to speak and how to speak Be calm and have patience – Try to manage your emotions and stay calm. This will help to deal with disgruntled and confused customers. When you stay calm you’re customer will feel much more respected Keep your promises – Develop the ability to manage expectations of customer complaints Be honest – Being honest and transparent with your customers proves that you truly care about their happiness and satisfaction even when the message you’re sharing is not positive. WWW.THISISMINK.COM

Customer Care 6.

Become an Expert – Learn everything about the service you are selling to your clients. Spend time studying the industry, products and your artistry 7. Good body language – Maintaining a good body language is also important even when you are talking with your client over the phone. Smiling frequently and expressing happiness and laughter in your conversation helps to improve the customer’s experience 8. Be confident – If you sound confident in your conversation over the phone, then convincing potential customers will become easier 9. Handle surprises well – Being adaptable is essential in order to fully prepare for any surprises you may encounter on the job 10. Work under pressure – knowing how to solve problems, thinking ahead and maintaining your composure at all times

Customer Care 11. Be empathetic – putting yourself in the position of your customers will help you to gain the necessary perspective in order to give them the best possible solution/outcome 12. Use positive language – using positive language that is motivating and in ways persuading, is the best way to reach your customers 13. Have computer skills – when you have computer skills is is much easier to quickly communicate with clients, customers and other individuals of your company 14. Take the extra step – doing more than a customer expects will definitely result in repeat business and recommendations 15. Learn from your mistakes – taking time to reflect on any mistakes you have made is a way for you to gain insight in to how to properly manage customers and effectively communicate at all times.

Customer Care 16. Friendly and compassionate – your friendly and caring attitude to your customers will surely help in creating the right atmosphere for repeat business 17. Time Management – Managing your time properly can ultimately mean the difference between a client choosing to use you again or not. Lateness is not tolerated in this industry 18. Negotiate and persuade – knowing how to reach mutually acceptable compromises between you and your customer is essential for reaching win-win results 19. Understand human psychology – get more familiar with human psychology, body language and tone of voice when talking to customers. Learning about human behaviour will make it easier for you to influence others and make genuine connections with customers 20. Have tenacity – Being goal-oriented, focused and determine shows your professionalism and dedicated to representing the company you are working for 21. Close the deal – Understanding how to close a deal is an essential part of the communication process.

Aftercare & Useful Resources

Aftercare and Useful Resources A.

Student Aftercare & Support

Hints and Tips

Useful Information

Contributors & References

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Student Aftercare & Support

• You’ve completed your makeup course, now where do you go from here? • We believe in giving our students every success possible in this very competitive industry and we have developed a revolutionary aftercare plan specially designed to give you the step-by-step help and support you need to be successful. • After our students graduate we keep them up-to-date with work placement opportunities, backstage assisting opportunities, access to our innovative makeup events facilitated by some of the world’s best makeup professionals and we give them discount access to additional courses and makeup master classes. • We have also teamed up with a number of cosmetics partners including BECCA cosmetics, Inglot Cosmetics, Ten Image cosmetics and more to offer our students exclusive discounts on cosmetics product while you work on building your makeup kits • We are in regular contact with our graduates and strive to produce the best makeup artists in the industry. • Remember that we were once in your shoes, at the start of our careers. We understand more than anyone how hard it can be in the beginning, which is why it is so important to us that you are genuinely supported and guided at this crucial time.

Hints and Tips

• Apply Makeup Primer first. Skin looks smoother and makeup lasts longer • Use a sponge or fingers to press on and blend foundation • Always use powder if you are applying concealer but not using foundation • For powder, it is best to apply with a puff to set. Next, dust with Loose Powder Brush to remove any excess. For a lighter finish, use the Brush. Imperfect skin will benefit from using the powder puff to fill in and provide more coverage.

Hints and Tips • When applying concealer to even out skin tone, use Flat Concealer Brush for wider areas, especially around eyes. Don’t forget the inner bridge of the nose close to the eye where it is dark • When using dark eye shadows, you should always start with a small amount of colour and add more as you go. • For more control of eye shadow in smaller areas, use Angular Eye shadow Brush. For wider areas, transparency, and blending use Eye Shader Brush • Always brush eyebrows, use hairspray or a brow gel to hold shape.

Hints and Tips • Especially with dark colours use a very good lip moisturiser first and blot away excess. This ensures smoother-looking lips • For longer wear and more intense finish, after applying lipstick, blot with tissue and reapply. Colour will last all day • For more casual-looking lips, sometimes leave out the lip liner • Blend, blend, blend. Brushes are necessary but feel free to use your fingers to finish blending. • Do not apply the wrong shade of foundation • Do not forget to blend foundation into the neck • Do not apply a deep coloured bronzer on really pale skin

Hints and Tips • Do not apply blush so that it leaves visible streaks on the cheeks. Blend it carefully. • Do not apply too much shine all over the face. It’s not flattering. • Do not use a lip liner that is visibly darker than the lipstick • Do not over tweeze the eyebrows into the wrong shape for the face • Do not apply too much lip gloss that it bleeds around the lips • Don’t be too serious; it’s only makeup! • Remember just like any technique, makeup requires practice. If you don’t get it right the first time round, don’t stress.

Hints and Tips • Line lower lash line with eye shadow because it won’t budge like a pencil can • Set brow pencil with brow powder or face powder to get rid of the shine and to make it last longer • Put down loose powder under eyes before applying eye shadow to catch any fall out • Adapt the makeup to the model • Practice, practice, practice • Look, learn • Create relationships

Useful Information

PROFESSIONAL MAKEUP SUPPLIERS WWW.SCREENFACE.CO.UK WWW.CHARLESFOX.CO.UK WWW.BECCACOSMETICS.COM WWW.GURUEMPORIUM.COM WWW.PRECIOUSABOUTMAKEUP.COM WWW.SEVENTAIMAGE.COM WWW.CROWNBRUSH.CO.UK WWW.INGLOTCOSMETICS.COM AND WWW.INGLOTUK.COM INDUSTRY MAKEUP TRENDS /ADVICE WWW.FACEON.COM WWW.MAKEUPMAG.COM WWW.BILLYBEAUTY.COM WWW.MAKEP411.COM WWW.BODYPAINTING-FESTIVAL.COM WWW.NASMAH.CO.UK WWW.SKILLSET.ORG.UK WWW.BACTAC.COM WWW.CIBTAC.COM WWW.IMA-MAKE-UP.COM

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Useful information CONVENTIONS IMATS LONDON THE MAKEUP SHOW GLOBAL FACE ART OLYMPIA BEAUTY PROFESSIONAL BEAUTY MAKEUP SHOW LIVE

WWW.PRODUCTIONBASE.CO.UK WWW.STAGEJOBSPRO.COM

EXPERIENCE/PORTFOLIO BUILDING WWW.FACEBOOK.COM WWW.WHOISTESTING.COM WWW.MODELMAYHEM.COM WWW.STARNOW.CO.UK PAID WORK WWW.PASSIONATEABOUTBEAUTY.COM WWW.NEWIDSTUIDOS.COM WWW.makeup-PROFESSIONAL.COM WWW.THISISMINK.COM

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Useful information FURTHER ADVICE • For Editorial, Major shows, etc, be prepared to work for free throughout your career as well as taking paid work, in order to get editorial credits and build up your portfolio and credibility • Search for agencies & photographic makeover studios on the internet. Always have an alternative skill or job COPYRIGHT • This workbook contains copyright material and therefore must only be used in the context of private or public education and teaching purposes and may not be used for the purpose of reproduction to publish commercially in order to benefit financially.

Contributors & References

• Spencer. Kit. 2001. Period makeup, for studio, stage & screen. London: Quintet • Publishing Limited • Davis, Gretchen (The Makeup Artist Handbook: Techniques for Film, Television, Photography and Theatre) • Musgrove, Jan (Make-Up, Hair and Costume for Film and Television) • Delamar, Penny (The Complete Make Up Artist: Working in Film, Fashion, Television and Theatre) • Morris, Rae (Makeup: The Ultimate Guide) • Kehoe, Vincent (The Technique of the Professional Make-Up Artist) • Thompson, Paul (Character Make-up) • Mason, Linda (Makeup for Ageless Beauty) • Barnes, Scott (About Face: Celebrity Makeup Techniques) • Le Quense, Suzanne (The Complete Guide to Make-up) • Waru Ririnui, Jana (Makeup is Art) • Phillips, Kathy (Vogue Beauty) • Le Quense, Suzanne (The Complete Guide to Make-up) • Aucoin, Kevyn (Face Forward) • Cohen, Juliet (Vogue Make-up) • Milgram, Josette (Marie Claire Make Up)

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