Principles of TV Makeup

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Principles of TV Makeup
Принципы телевизионного макияжа

television makeup

The broad aims of facial makeup and lighting are actually complementary. Makeup can sometimes compensate for lighting problems, such as lightening eye sockets to anticipate shadowing cast by very high-angled lights. However, whereas the effect of lighting changes as the subject moves, that of makeup remains constant.
Localized highlighting by slight color accents will increase the apparent size and prominence of an area; darkening reduces its effective size and causes it to recede. By selective highlighting and shading, you can vary the impression of proportions considerably. However, you must take care lo prevent shading from looking like grime! Also the makeup artist can always ask actors to use some specific cosmetic products before and after every shooting. It would prevent emergence of unpleasant signs of fatigue on the face.

You can reduce or emphasize existing modeling or suggest modeling where none exists; remember, though, that the deceit may not withstand close scrutiny.
A base or foundation tone covers any blotchiness in natural skin coloring, blemishes, beard shadows, and the like. This can be extended, where necessary, to block out the normal lips, eyebrows, or hairline before drawing in another different formation.
Selected regions can be treated with media a few tones lighter or darker than the main founda­tion and worked into adjacent areas with fingertips, a brush, or a sponge. After this highlight­ing and shading, any detailed drawing is done using special lining pencils and brushes.
A long shot ideally requires more denned, prominent treatment than a close-up. However, such refinements may not be possible under typical television production conditions. You may not even be able to do anything about such distractions as perspiration or disheveled hair when the actor is on-camera tor long periods, except to correct them for any retakes, when time permits.

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