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Further Information
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Four Month Media makeup and hair Course
Course Guide
Introduction to the course and a makeup artists roll within the industry
Students cover various makeup techniques for television, film and theatre environments. Working with different lighting gels and how to achieve what is expected in studio and on location.
Basic Make Up
Understanding different facial features, applying basic makeup for television and film. How to work with different products, textures, choosing the right products to use.
Working with hair
Basic hair work is covered, as it is a very important part of a makeup artist’s role this includes Velcro and Carmen rollering, blow drying and generally building confidence in handling all types of hair.
Period Make Up and Hair work
This includes 16th Century to 19th Century and 1920’s through to 1990’s.
Wigs and Hair pieces
Working with both hair lace and acrylic wigs from our extensive wig department, blocking, maintaining, dressing into various styles and fitting. Students also learn how to attach hairpieces such as switches, clusters and backfalls.
makeup techniques for crowd scenes and supporting artists
Students cover ways of applying makeup on supporting artists and for crowd scenes. Dirtying down (peasants) - including teeth, fingernails and hair. How to work fast when working on crowd scenes and how to maintain hygiene. It is important that students learn many different makeup techniques for television and cinema, such as makeup required for close-ups, mid- shots, and distance shots.
Theatre makeup
Students learn different theatre makeup techniques, especially over distance that is also acceptable for the front row. This includes Geisha, Pantomime dame, Basic makeup (Cinderella), Ageing, wounds, body makeup and exaggerated beard lines, How to put different hair lengths up in a stocking, bandage or net, and disguise a microphone in a wig. Quick changes within the theatre are explained in full, this includes how one would work on a plot, in the dark and working around costume changes. Safety in the theatre is covered.
Facial Hair
If your artist requires a beard or stubble for a close up shot, you would be required to apply a facial hairpiece, or lay on hair. All students learn how fit moustaches, sideburns, beards, dress them and maintain them. Straightening hair, mixing and laying it on is also covered.
Camouflage and Body makeup
Camouflaging birthmarks, tattoos, underwear strap marks, balancing skin tones, such as arms, shoulders, legs and nervous rash.
makeup Special Effects
Students learn, 1st, 2nd and 3rd degree burns, bruising and the reaction of the skin to different types of implements and injuries, working out position, density and colour of bruise. Discoloration of skin due to cause of death, garrotting, slit throats, bullet holes, stitches, slit wrists, sick, whip lashes, blisters, drug addict, grazes, psoriasis, sweat, and tears. Working with gelatine, film blood, wax and gums.
Wig Making
This section of the course students learn the skills of wig fittings, measuring, making a moustache, side burns, eye lashes, weave ringlets and learn how to make a foundation for a hair peace. This section of the course gives the students a great insight to all the hard work that is involved within making and maintaining hair lace pieces and understanding the value of them. Some of our students have gone into this line of work full time and others just use these skills if needed. For example; knotting a few grey hairs around the hairline to age your artist. Although this would only be used in an emergency. Normally one would already have a suitable wig made.
SCRIPTS, makeup AND HAIR SCENARIOUS, C.V’S AND ANCILLARY INFORMATION
Being a makeup artist doesn’t just mean putting makeup on, there is a lot more involved, so students cover: Schedules, call times, continuity within a scene, continuity changes within a scene, continuity break downs, understanding the list of characters from a story board, budgeting, insurance, invoicing and tax. Projects are allocated and students are expected to research a character by visiting different places to obtain evidence to produce in a folder. Scenarios are allocated where students are asked to follow the story lines and transform their fellow students into particular characters, within certain time limits. Students also use this week to organise business cards, C.V.’s and how one approaches companies and individuals to obtain work. A studio manager often speaks to the class for the day on all aspects of the industry and a makeup artist’s role within it. This includes seeing makeups on camera. (Subject to studio availability)
SCULPTURAL PROSTHETICS EFFECTS
Students on this part of the course learn the safety aspects of special effects, face casting, sculpting, foam runs, preparing moulds, application of makeup, making and fitting bald caps. Our special effects lecturer who has worked on many well-known productions, is extremely creative and tries to make sure that all students achieve what they have designed or sketched (you do not need to be an artist). Other special effect courses try to encourage students to stick to small prosthetic pieces such as ears and noses as they as easier to teach, whereas, our classes are designed to bring out the artistic side of student giving them the opportunity not only to make small pieces but larger too (see inside our gallery's). Before these two weeks takes place, our S.F.X lecturer speaks to all students individually to help and guide them with their thoughts and ideas in order for Brushstroke to provide additional materials, if needed.
STUDENTS CHOICE
Lecturers discuss with the students any subjects they would like to re-cap, or would like more practice with. For those students wishing to take portfolio photographs, this can be arranged during this time.
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