Airbrush makeup cerificate toolkit v4 by MiNK London

Airbrush Makeup Certi0icate Toolkit

Airbrush Makeup Cer/ﬁcate 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 /me 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

GeRng Started Airbrush Makeup How to airbrush The Business of Makeup AWercare & Useful Resources Contributors & Reference

3 4

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6 43 55 73 99 104

1 GeRng Started

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Introduc/on

About MINK •  MiNK London is the UKs leading makeup and beauty brand for people of colour! Our services and makeup courses are suitable for Black, La/no, Indian, Mediterranean, Mixed and White skin tones. •  The company runs a private makeup school, a makeup agency and a produces large scale makeup events •  The private makeup school specialises in short, comprehensive makeup programmes •  The makeup agency provides makeup services for magazines, TV/ﬁlm, catwalk, stage, weddings and more •  The makeup events are facilitated by some of the world’s greatest makeup professionals and aim to provide abendees with the very best makeup resources. WWW.THISISMINK.COM

Introduc/on Aim of the Airbrush Makeup Cer<ficate: •  Understand theory of airbrushing •  Understand airbrush makeup equipment and how to maintain it •  Effec/vely use airbrushing to create flawless makeup looks •  Maintain safe and effec/ve methods of working •  Understand colour selec/on and mixing •  Ability to work with all skin types irrespec/ve of colour or condi/on •  Accredited course that will assure prospec/ve clients that you have received the highest standard of training available. WWW.THISISMINK.COM 8

Introduc/on

Student objec/ves What do you want out of this course?

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Your Health, Your Safety

•  If you are an employee (full- or part-time, temporary or permanent), this information explains what your rights are, what you should expect from your employer, what responsibilities you have and where to go for help. It also applies to you if you are a young person doing work experience, an apprentice, charity worker, mobile worker or home worker •  If you are a temporary, casual or agency worker, the employment business/agency, gang master, contractor or hirer you are working for has a legal duty to ensure you receive the rights set out here. WWW.THISISMINK.COM

Your Health, Your Safety You have the right: •  To work in places where all the risks to your health and safety are properly controlled •  To stop working and leave the area if you think you are in danger •  To inform your employer about health and safety issues or concerns •  To contact HSE or your local authority if you still have health and safety concerns and not get into trouble •  To join a trade union and be a safety representative •  To paid time off work for training if you are a safety representative •  To a rest break of at least 20 minutes if you work more than six hours at a stretch and to an annual period of paid leave. WWW.THISISMINK.COM

Your Health, Your Safety You must: •  Take care of your own health and safety and that of people who may be affected by what you do (or do not do) •  Co-operate with others on health and safety, and not interfere with, or misuse, anything provided for your health, safety or welfare Your employer must tell you: •  About risks to your health and safety from current or proposed working practices •  About things or changes that may harm or affect your health and safety •  How to do your job safely •  What is done to protect your health and safety •  How to get first-aid treatment •  What to do in an emergency. WWW.THISISMINK.COM

Your Health, Your Safety Your employer must provide, free of charge: •  Training to do your job safely •  Protection for you at work when necessary (such as clothing, shoes or boots, eye and ear protection, gloves, masks etc) •  Health checks if there is a danger of ill health because of your work •  Regular health checks if you work nights and a check before you start (Note: If you are genuinely self-employed you are responsible for providing your own first-aid arrangements, training, protective equipment and health checks, and for organising your own working time.) WWW.THISISMINK.COM

Your Health, Your Safety Your employer must provide you with the following information: •  Health and safety law: What you should know. This should give the contact details of people who can help •  Their health and safety policy statement •  An up-to-date Employers’ Liability (Compulsory Insurance) certificate visible in your place of work What to do if you are concerned about your health and safety: •  Phone HSE’s Info line 08701 545500 for advice or to complain, or the TUC’s Know Your Rights line 0870 600 4882 •  If you would like to speak to someone in a language more suitable to you please call 08701 545500 and tell the operator which language •  If you have lost your job because of a health and safety matter you may be able to complain to an Employment Tribunal. Ask your trade union or local Citizens Advice Bureau for advice.

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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 condi/on 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 loca/on aWer 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 conversa/ons and cell phone use outside the studio 7.  Mobile phones should be switched off or put on silent 8.  Show considera/on when an instructor is lecturing or helping another person 9.  Please arrive on /me, if you are more than 30 minutes late your instructor is authorized to refuse you entry 10. Wait at recep/on, and not in the corridors, un/l the tutor invites you into the training room. WWW.THISISMINK.COM

D 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 /mes. We are represen/ng 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 posi/ve habits for our staﬀ and our students: 1.  Please abend the class wearing a smart black or dark coloured top and black or dark coloured boboms; 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 permibed unless they are worn over leggings or thick black /ghts 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 /me 8.  Revealing clothing is not permibed 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 un/l they are in compliance with the dress code, which may not allow them the opportunity for that days educa/on. WWW.THISISMINK.COM

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•  •

Steriliza/on and hygiene The tools you use to apply beauty products or groom your hands and feet can harbour unsightly and harmful bacteria if leW un-‐cleaned. You must sterilize your beauty tools to decrease and the chance of infec/on. Autoclaves -‐ These are highly recommended for equipment sterilisa/on. The correct temperature and pressure must be applied for an appropriate length of /me in order to ensure sterilisa/on. Disinfectants -‐ Bleach or 'Milton' solu/on can be used for soaking combs, brushes and on non-‐metal surfaces. Ammonia compound disinfectants (e.g. 'Barbicide') can be used for metal and plas/c items. Follow manufacturers instruc/ons for correct use.

Contra-‐indica/ons

•  A contra-‐indica/on is any reason why a hair stylist may not treat the client •  During consulta/on, while ques/oning and observing the client, he/she may inform you of a contra-‐ indica/on he/she has or you may no/ce a contra-‐ indica/on to treatment that the client may be unaware of •  It is essen/al, therefore, that you are able to recognise these contra-‐indica/ons in order to prevent treatment or to limit or adapt it in some way. WWW.THISISMINK.COM 19

Contra-‐indica/ons •  A contra-‐indica/on exists when:

–  An infec/ous disease is present –  A disorder or medical condi/on may prevent treatment –  A condi/on is present, for which medical approval must be sought before treatment

•  Contra-‐indica/ons may be deﬁned as

–  General: would contra-‐indicate most treatments and affect the whole body –  Specific: would contra-‐indicate a par/cular treatment or prevent treatment on a specific area of the body –  Temporary: would prevent treatment only for a short period of /me. WWW.THISISMINK.COM

Contra-‐indica/ons •  Under no circumstances must you diagnose any medical condi/on •  When you suspect there is a medical condi/on that may contra-‐indicate treatment, you will need to be tacpul 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 considera/on for you is to prevent cross-‐infec/on occurring •  For this reason, clients with an infec/ous 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 leber. WWW.THISISMINK.COM

Contra-‐indica/ons •  Contra-‐indica/ons fall into four categories: 1. Viral 2. Bacterial

3. Systemic 4. Fungal

VIRAL

BACTERIAL

SYSTEMIC

FUNGAL

Herpes simplex

Impe/go

Diabetes

Ringworm

Chickenpox

Paronychia

Mul/ple sclerosis

Athlete’s foot

HIV

Stye

Osteoporosis

Warts

Boil

Asthma

Rubella

Bronchi/s

Verruca

Bells palsy WWW.THISISMINK.COM

Contra-‐indica/ons Contra-‐indica/ons requiring medical permission – where medical permission cannot be obtained clients must sign a consent form sta/ng 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/Psycho/c condi/ons •  Epilepsy •  Recent facial opera/ons affec/ng the area •  Diabetes •  Skin cancer •  Slipped disc •  Undiagnosed pain •  When taking prescribed medica/on •  Whiplash. WWW.THISISMINK.COM 23

Contra-‐indica/ons Contra-‐indica/ons that restrict treatment: •  Fever •  Contagious or infec/ous diseases •  Under the inﬂuence of recrea/onal drugs or alcohol •  Diarrhoea and vomi/ng •  Any known allergies •  Eczema •  Undiagnosed lumps and bumps •  Localised swelling •  Inﬂamma/on. WWW.THISISMINK.COM

Contra-‐indica/ons Contra-‐indica/ons that restrict treatment: •  Cuts •  Bruises •  Abrasions •  Scar /ssues (2 years for major opera/on and 6 months for a small scar) •  Sunburn •  Hormonal implants •  Recent fractures (minimum 3 months) •  Sinusi/s •  Neuralgia •  Migraine/Headache. WWW.THISISMINK.COM

Skin condi/ons that will prevent treatment Condi<on

Cause and Symptoms

Treatment

Bacterial condi/on: Folliculi<s

Bacteria enter the opening of the follicle causing an infec/on. The opening of the follicle can become inﬂamed and painful Note: Can be spread by direct and indirect contact with a person, by dirty tools and towels or by irrita/on from chemicals

•  Refer for medical advice •  Hair services must not be carried out

Fungal Condi/on: Ringworm of the scalp

Patches of pink skin surrounded by a red ring. The centre of the patch is covered in grey scales of dead kera/n and if on the scalp the hair will break leaving stubble

•  Refer for medical advice •  Hair services must not be carried out

Parasite condi/on: Head lice

Small parasites that live on the scalp and feed by sucking blood. The lice lay eggs called nits. Head lice are passed from one person to another by head-‐to-‐head contact

•  Refer for pharmacy advice •  Hair services must not be carried out

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10 Studio Rules

Contra-‐indica/ons

•  A contra-‐indica/on is any reason why a makeup ar/st may not treat the client. During consulta/on, while ques/oning and observing the client, he/she may inform you of a contra-‐indica/on he/she has or you may no/ce a contra-‐indica/on to treatment that the client may be unaware of. It is essen/al, therefore, that you are able to recognise these contra-‐indica/ons in order to prevent treatment or to limit or adapt it in some way.

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Contra-‐indica/ons •  A contra-‐indica/on exists when:

–  An infec/ous disease is present –  A disorder or medical condi/on may prevent treatment –  A condi/on is present, for which medical approval must be sought before treatment

•  Contra-‐indica/ons may be deﬁned as

Contra-‐indica/ons •  Contra-‐indica/ons fall into four categories: 1. Viral 2. Bacterial

3. Systemic 4. Fungal

VIRAL

BACTERIAL

SYSTEMIC

FUNGAL

Herpes simplex

Impe/go

Diabetes

Ringworm

Chickenpox

Paronychia

Mul/ple sclerosis

Athlete’s foot

HIV

Stye

Osteoporosis

Warts

Boil

Asthma

Rubella

Bronchi/s

Verruca

Bells palsy WWW.THISISMINK.COM

Contra-‐indica/ons Contra-‐indica/ons to eye makeup •  All the general contra-‐indica/ons plus any form of eye infec/on •  Any eye surgery (approximately 6 months) •  Conjunc/vi/s •  Stye •  Hay fever •  Watery eye •  Blephari/s •  Infec/ous and non infec/ous skin condi/ons speciﬁc to the eye and surrounding area to include: –  Atopic eczema –  Atopic derma//s –  Psoriasis.

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Airbrush Makeup

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History of Airbrush makeup

•  Airbrush makeup is a special type of cosme/c applied with an air operated machine. The makeup is sprayed through a “gun” that is abached to an airbrush compressor. •  Francis Edgar Stanley registered the first patent for an airbrush compressor in America in 1876 •  Airbrushing was first used as makeup in the 1925 film “Ben Hur” •  With the use of the internet airbrushing has become more popular and accessible to the public •  Many companies began selling airbrush makeup and airbrush compressors. WWW.THISISMINK.COM

A Airbrush makeup

•  Airbrush makeup has become more popular with the growth of high-‐deﬁni/on video and television (HD) •  Tradi/onal powder or liquid based make-‐up can seble and appear in pours and wrinkles and be visible on HD ﬁlm •  As the airbrush makeup is sprayed on, it connects with the skin as millions of droplets of formula •  The formula can therefore create an even, sheer, natural appearance to the skin that, if applied properly can appear natural and non-‐heavy like tradi/onal makeup •  Airbrush makeup wears longer than tradi/onal powder or liquid founda/on, able to stay put for 12-‐24 hours. WWW.THISISMINK.COM 40

A Airbrush makeup

•  It can be used to cover ﬁve o'clock shadows for men •  Airbrush makeup is also available for eye shadow, blush, eyebrows and lips and can be layered, shaded, highlighted and contoured •  The technique is more sanitary due to the ar/st never having to touch the skin •  It can be used on mul/ple people without having to clean and sani/ze tools •  It is a lot faster than tradi/onal makeup applica/on, if done by a trained ar/st. WWW.THISISMINK.COM

A Airbrush makeup

•  Fantasy and special eﬀects are able to be stenciled or created by freehand •  Can be built up in layers to create a more drama/c look •  Airbrushing allows control over makeup coverage; you can create a natural look or a stage look •  You can match skin tone exactly •  You can use all over the body •  You can use to cover taboos •  You can use to apply fake tan

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Airbrush Equipment

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Compressor Airbrush gun Founda/on Colours Stencils Cleaner

Types of airbrush makeup

There are two main types of airbrush makeup: Silicone and water based 1.  Silicone Ø  Professional makeup ar/sts use silicone makeup for film, TV and occasions where the makeup needs to C look flawless Ø  The silicone provides lubrica/on and viscosity (what some ar/sts refer to as "slip") at a level equal to, or oWen, even beber than oil allowing a product to apply and blend over the skin smoothly and evenly Ø  Silicones have a lighter weight and are thus more comfortable on the skin, as well as resis/ng filling in lines or large pores on the face. WWW.THISISMINK.COM

Types of airbrush makeup

Silicone (con/nued) Ø  Conven/onal silicones stay supple and smooth, even in dry climates, whereas vola/le silicones last long enough to blend over the face, then C leaving lible to no feel evaporate (like alcohol), behind Ø  Silicone-‐based makeup is less likely to oxidise or change colour during wear 2.  Water-‐based Ø  More aﬀordable and accessible Ø  Used for everyday makeup looks. WWW.THISISMINK.COM

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Hygiene and Steriliza/on No airbrush will work properly without being cleaned regularly and correctly Using a Q-‐/p (or cleaning brush) wipe out any makeup from within the cup. Always be careful not to damage the needle when you do this There will s/ll be some residual makeup which can be rinsed off easily with dis/lled water using the ‘back bubbling’ technique Put a few drops of dis/lled water or fluid cleaner in the cup, block the nozzle of the airbrush with your finger pull back on the control lever allowing the air to escape up through the cup which will cause the water to bubble and loosen the makeup in the airbrush. WWW.THISISMINK.COM

Hygiene and Steriliza/on •  •  •  •  •

Repeat the process un/l you no longer see makeup spraying out from the gun. This should take two or three passes Clean the needle by removing it and rub oﬀ the excess makeup which will have built up around it It is also a great idea to soak the airbrush in a container of dis/lled water, nozzle down, with the control lever open. Leave the needle out of the solu/on. You can also do a maintenance clean of the nozzle by removing the air-‐cap and wiping it gently with a Q-‐/p soaked in cleaner When cleaning always make sure you don’t leave any bits of <ssue, Q-‐<p ﬁbres or cloth in the airbrush components! A lint-‐free cloth is the safest way to go as are the cleaning brushes and kits which are specialised for the job! WWW.THISISMINK.COM

Health and Safety Considera/ons

As more of us are using an airbrush as a form of make-‐up applica/on, it's vital we take this into account when doing risk assessments. Airbrushing pushes both carriers and pigments into the air surrounding both the make-‐up ar/st and their subject. Therefore, good ven/la/on is essen/al, especially if more than one airbrush is being used. Windows should be opened and, if possible, an extractor ﬁbed. In mobile make-‐up vehicles and rooms, roof vents should be opened and an extractor should be available. In tents or loca/on make-‐up rooms, make sure tent ﬂaps are leW open and fans are available. Ven<la<on is most important. WWW.THISISMINK.COM

Health and Safety Considera/ons •  •  •  •

Never spray directly in the eyes, ears, nose or mouth. You can use a /ssue or stencil to block these areas Although there are very few cases of allergic reac/on, you will s/ll want to do a patch test Make sure compressor is free of dust and not covered As with any electrical device, keep away from water

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How to airbrush

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Before you begin

•  Make sure your compressor is plugged in •  Make sure your hose is properly connected •  Make sure your airbrush is not clogged or ﬁlled with debris •  Secure the compressor on a ﬂat, hard surface. Make sure the vents can breathe or you risk your machine overhea/ng and in turn, burning out the motor. •  Make sure both sides of the hose are connected before you turn the machine on

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Classic handling faults

•  Spidering ―  working too close to the surface ―  too much makeup, too lible air, makeup on, air oﬀ •  Flooding ―  makeup too thin ―  too much makeup, too lible air •  SpiRng at start of stroke ―  Makeup before air •  SpiRng at end of stroke ―  Lever released suddenly instead of being closed oﬀ gradually WWW.THISISMINK.COM

Common mistakes •  •  •  •  •  •  •  •

Spray a lible more just to be sure Spray it I can easily see it Spray in short brush strokes Spray in a bloRng-‐the-‐sponge mo/on Deciding to add too many layers A lible more air pressure might help Spraying to close or too far away Spray brush cup is too full

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Airbrushing Techniques

1.  Circle in a square 2.  Circles 3.  Straight lines •  •

Prac/cing airbrushing techniques on paper will allow you to get the hang of opera/ng the airbrush and being able to control the air gun Control the pressure on the airbrush compressor. Turn the pressure up and down as needed. Always try the pressure on your hand and judge if it is too intense for the face. People with sensi/ve skin are likely to need less pressure. When airbrushing around the eyes and under the nose ensure the pressure is turned down. WWW.THISISMINK.COM

Airbrushing techniques Applying founda<on •  Press the trigger bubon before turning on the compressor •  Start circling with air •  Slowly pull the trigger back to release the product •  Con/nue circling un/l the area is filled with an even amount of product •  The more you pull the trigger back the more product will be released, when you want to release less product move the trigger bubon forward •  To stop, keep moving in circles, keep the finder down in the trigger and slowly push forward, finish with air. Remember: always start with air and finish with air (never stop the airflow while you are s<ll spraying product!) WWW.THISISMINK.COM

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Founda/on and Concealer

Skin Prepara<on •  Use a moisturise suitable to the client’s skin, this will help to prep the skin and allow a beber ﬁnish. You can also use a primer. Primer will normally be applied before founda/on and aWer moisturiser Concealing •  Using a concealer brush or latex sponge, apply concealer as required e.g. under eyes, corners of nose, on blemishes.

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Founda/on and concealer Contouring •  Contour using a darker shade of founda/on on cheek bones, sides of face etc. Founda<on •  Pour 7 – 10 drops of founda/on in the cup of the airbrush gun •  The gun should be between 5-‐6 inches away from the face. The pressure can be turned up when further away from the face. The closer you are the lower it should be •  Start with air, pull back the trigger and begin to release the makeup •  Using a /ssue or sponge, cover the nose and eyelashes •  Start to circle, pull back the trigger and being to release the makeup. WWW.THISISMINK.COM

Founda/on and concealer •  Insure to keep moving to avoid over spraying •  Take a break from /me to /me to look at your work. When stopping ensure you bring the trigger bubon forward and con/nue to release air (the air can be used to dry the face) •  Your target is to achieve a natural, ﬂawless coverage.

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Blusher and highlighter

Blusher •  When airbrushing the blusher, the gun should be 4-‐6 inches away from the face •  Spray in a circular mo/on onto the apples of the cheeks and bring out to the temple •  Do not overspray as the colour will build up slowly •  You can always spray more Highlight •  Highligh/ng using the airbrush can be very effec/ve, apply where necessary to give a flawless finish. WWW.THISISMINK.COM

SeRng with powder

•  Finally seal the look by applying translucent powder •  Airbrush makeup will take approximately 15 minutes to dry so avoid touching the face while the product is s/ll wet •  Prac/cing airbrushing will make you beber at it •  Once you can control the gun then you will be able to create ﬂawless makeup looks •  If you feel that your client needs more coverage you can always layer with airbrushing. WWW.THISISMINK.COM

The eyes and eyebrows

Air Shadowing •  PSI needs to be very low so that you have more control of how much product is being applied •  You will need an air shadow guard in order to avoid over spray onto the face •  Apply your ﬁrst colour to the en/re lid •  Your next colour should be placed from the lash line to just below the brow bone •  Con/nue to add colour and depth as required •  To add liner you must also use an air shadow guard •  Remember the closer you get to your target the more concentrated the eyeliner will appear •  You will only need a few drops for both liner and brows for each eye •  It is unlikely that you will be able to line the lower lid. The airﬂow will be too much for the eye to endure. WWW.THISISMINK.COM

Air brows •  Air brows should only be done with stencils •  You will need to have an air shadow guide and eyebrow stencils for proper applica/on •  You will only need 1 or 2 drops for air brows •  Spray 1 to 2 cen/meters away from your target.

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Taboo cover-‐up

•  Begin by drying the tabooed area with either alcohol or hand sani/zer •  Depending on the colour of the taboo you may want to start with a yellow or orange /nted product colour. This will help to cancel out most of the black taboo •  Do not disperse a lot of product, but instead con/nue layering un/l most of the taboo is covered •  Next match a founda/on colour to the skin and con/nue to spray passes un/l it is completely covered. WWW.THISISMINK.COM

Temporary taboos •  Temporary taboos are very easy to apply when using a stencil •  Make sure to rid the skin of any oil using alcohol or hand sani/zer •  You can use a spray adhesive or tape to keep the stencil from moving on the skin •  Start with 1 or 2 drops of each colour and con/nue adding as required •  Use an alcohol based product for longer las/ng taboos.

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Troubleshoo/ng /ps

•  •  •  •  •  •

Make sure airbrush is clean Check for a bent needle Check for a bent or broken nozzle Make sure your needle is not corroded Check the hose for any holes Make sure the hose is connected on both ends.

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The business of makeup

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The business of makeup

•  Makeup ar/sts usually work in one or more of the following main areas: Film and Television

Theatrical

Poten/al Career Paths

Cosme/c Camouﬂage

Fashion and photographic

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Makeup for Photography •  Applying makeup for photo shoots involves speciﬁc techniques that depend on a number of factors: Ligh/ng: Indoors or outdoors? Film or digital technology? Colour or black-‐and-‐white? Style: What image does the photographer want? •  Making a photograph is a collabora/ve eﬀort. As the makeup ar/st 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 ques/ons or to give your opinion •  Throughout the process also ask for feedback. WWW.THISISMINK.COM

Makeup for Photography •  AWer you have applied the model’s founda/on, 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 un/l 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 ligh/ng •  Once the shoo/ng starts don’t think that your job is done. You need to stand by the set with your tools – powder, blush, lips/ck 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 puRng 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 ar/st must be able to speak about the designers vision and the current style trends •  The ﬁnal look on the runway is a collabora/on between the designer, the makeup ar/st, 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 discus the look •  Your role is to interpret the designers vision •  Ask a lot of ques/ons and keep asking un/l you feel conﬁdent that you have the right vision •  Do some trials and experiment with some op/ons 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 iden/ﬁca/on, loca/on on the face and any special instruc/ons needed to complete the look •  You will need a makeup team •  Find out how many models will be walking and hire one ar/st 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 distrac/ons and last-‐minute emergencies •  Be ﬂexible – some/mes 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 lips/ck and eye shadow, you can have them leave the founda/on 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 addi/onal powder to combat shine •  Even aWer 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 con/nue standing by, ready to ﬁx whatever might need ﬁxing. WWW.THISISMINK.COM

Makeup for Television and Film •  There is a misconcep/on 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 founda<on followed by powder to keep it mabe. Sheer /nts 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 applica/on. 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 defini<on television •  High defini/on television is extremely unforgiving. The makeup you apply has to be both fluid and perfectly blended. Founda/on that is not correctly applied will look like its mel/ng off the face •  Always check makeup in the monitor to see how it works with ligh/ng •  Blemishes need to be expertly covered. WWW.THISISMINK.COM

Makeup for Television and Film Film •  Directors, ligh/ng and scripts dictate what style of makeup needs to be done •  Communicate with everyone involved, ask lots of ques/ons and do lots of tes/ng •  The real makeup challenge when working on ﬁlm is maintaining con/nuity. Scenes are oWen 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 Celebri/es •  Working with celebri/es is fun and challenging •  Just like every woman they want to ﬁnd a look that is right for them while looking beau/ful •  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, ligh/ng and occasion •  Go slowly, ask a lot of ques/ons •  Hand her the mirror frequently to avoid geRng big surprises at the end of the applica/on. WWW.THISISMINK.COM

Working as a makeup ar/st •  You could nego/ate fees based on the type of produc/on, 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 ar/st •  Daily rates: Commercials around £500 a day, Fashion/ editorial work ranges from £200-‐£2,000, while top makeup ar/sts can earn more than £3,000 •  Ar/sts with published work ‘tear sheets’, can nego/ate addi/onal fees for their published work with companies that use them •  Established makeup ar/sts oWen have agents who ﬁnd them work. WWW.THISISMINK.COM 86

Working as a makeup ar/st Pi`alls •  It is important to have a good porpolio 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 ar/sts spend their working life as freelancers. Many people don't get regular holidays with budgetary and /me constraints •  Unless you have a full-‐/me job with a pension, you must make your own arrangements and manage your accounts. WWW.THISISMINK.COM

Presen/ng your porpolio •  Ensure your porpolio is presented well and invest in a professional ‘display book’ or porpolio •  A professional looking porpolio will give a good impression of your approach to work and encourage prospec/ve clients to spend /me looking through your designs •  Design sheets and photos should have neat straight edges •  Don’t put mediocre pictures into your porpolio •  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

Presen/ng your porpolio •  Colour photos and pain/ngs should avoid black mounts and any colour that will distract from the image itself •  If you use labels make sure you check your spelling and legibility •  Ensure the plas/c edges of your porpolio are clean and free from ﬁngerprints •  Images in your porpolio can be placed back to back •  Makeup looks with accompanying design sheets should preferably be displayed so they can be seen together (i.e. on an open double page) •  Ensure porpolio is labelled with your name and contact details, a business card is useful for this. WWW.THISISMINK.COM

How to stand out from the crowd Perfec/on Innate ability to enhance a woman’s face Exude complete conﬁdence Inspire the subject, build up their egos, make them feel truly beau/ful, give them the conﬁdence to stand in front of the camera lens •  Crea/vity – always look for inspira/on •  Never become complacent, always be excited. •  •  •  •

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Marke/ng 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 informa/on for poten/al 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 reputa/on is very hard to shake oﬀ •  Ensure local photographers know about you •  Network and make contacts. WWW.THISISMINK.COM

Insurance •  Insurance is important to protect makeup ar/sts 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 ar/st 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 •  TheW, loss or damage of makeup kit and equipment -‐ Without insurance the contents of your kit, which you probably built up over a period of /me, may be irreplaceable because of cost. WWW.THISISMINK.COM

Build good customer care skills •  Customer service is one of the most important skill to learn in any ﬁeld of work •  Some of the most valuable skills are as follows: –  Listen closely to customers and ask appropriate ques/ons –  Clear verbal communica/on: proper speaking skills, good grammar and the ability to choose the right mode of speaking –  Ability to empathize –  Time management skills –  Management of personal emo/ons –  Iden/fy ways to con/nuously improve customer service

•  Remember that customer service skills can be learned! WWW.THISISMINK.COM

AWercare & Useful Resources

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Student AWercare & 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 compe//ve industry and we have developed a revolu/onary aWercare plan specially designed to give you the step-‐by-‐step help and support you need to be successful. •  AWer our students graduate we keep them up-‐to-‐date with work placement opportuni/es, backstage assis/ng opportuni/es, access to our innova/ve makeup events facilitated by some of the world’s best makeup professionals and we give them discount access to addi/onal courses and makeup master classes. •  We have also teamed up with a number of cosme/cs partners including BECCA cosme/cs, Inglot Cosme/cs, Ten Image cosme/cs and more to oﬀer our students exclusive discounts on cosme/cs product while you work on building your makeup kits •  We are in regular contact with our graduates and strive to produce the best makeup ar/sts 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 /me. WWW.THISISMINK.COM 95

B Useful Informa/on 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 informa/on

CONVENTIONS WWW.PRODUCTIONBASE.CO.UK IMATS LONDON WWW.STAGEJOBSPRO.COM THE MAKEUP SHOW GLOBAL FACE ART OLYMPIA BEAUTY PROFESSIONAL BEAUTY MAKEUP SHOW LIVE 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

Useful informa/on

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 porpolio and credibility • Search for agencies & photographic makeover studios on the internet. Always have an alterna/ve skill or job

COPYRIGHT • This workbook contains copyright material and therefore must only be used in the context of private or public educa/on and teaching purposes and may not be used for the purpose of reproduc/on to publish commercially in order to beneﬁt ﬁnancially. WWW.THISISMINK.COM

Contributors & Reference

•  Air Brush Makeup – The professional airbrush makeup guide (Kindle Edi/on) •  Devawn Testagrossa, Airbrush Makeup as a Profession (Kindle Edi/on)

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