Theatre Design & Technology - Feb 1972 - 26

about level with the bottom of the nostril,
and then gradually tapers down to point
near the lip.
With a flat sable brush, pick up a small
quantity of the appropriate shadow mixture
and apply it with the edge of the brush,
starting at the inside of the nostril and extending down to below the mouth. Clean
the brush. Use the flat side of the brush to
carry the paint in the wrinkle line up towards the nose and up towards the cheek.
Blend this paint with your fingertips so
that it is darkest along the original line and
gradually becomes lighter until it disappears
into the base (Figure 6).
With your fingertips, apply the high paint
highlight at the crest of the wrinkle and follow its shape for the full length. This highI ight is blended both towards and away
from the wrinkle until it disappears into the
base, remaining strongest at its original
point of application. The width of this highlight at its widest point is no more than

Fig. 1. Place line of shadow at temple bone. from
crest of browbone Into halrlllle

Fig. 2. Pat shadow mixture

Fig.

Fig. 5. Blend shadows by gently patting mlxlure to
blend 11110 base.

1I1{0

place.

'I,' .
With the flat side of the brush, apply the
contrast highlight, just below the dark line
of the nose wrinkle, touching the darkest
point of the shadow for its full length.
Blend this paint towards the mouth first
with the brush and then with a finger.
Finally, check the wrinkle at its end point,
and if it ends abruptly or is too conspicuous, blend it so that the end disappears into the base (Figure 7).
Painting the Cheek-Chin Wrinkle
To locate this wrinkle accurately, pull
your chin into your neck and grin widely
(Figure 8). Although the fold you see running from the cheek to the chin is the
wrinkle you wish to paint, you cannot do so
in the grinning position. Since your flesh is
stretched, if you paint it and then relax your
face, you will find that the wrinkle is incorrectly placed. So determine its position
and then relax the face before applying the
makeup.
Wllh the flat side of the sable brush, pick
up a small quantity of the shadow and
starling on one side of the face at a point
close to the depth of the cheek hollow
apply the paint with the edge of the brush.
Carry the pamt down the face under the
chm, and up the other Side of the face.
Clean the brush. With the fla' side of the
brush, blend the paint towards the mouth.
Start at the top pomt, gradually widen to
the Widest point under the chin, and gradually dlmmish up to the other Side. Blend
thiS pamt with a fingertip so that it graduates in Intensity from liS darkest hue at the
point of application to the point where It
disappears IntO the base.

Apply

shadQ\'V

Sinking area of cheek.

Fig. 7. Highlights on cheek are blended towards and
away from wrinkle Contrasting highlight IS blended

Fig. 8. To locate cheek chin wrinkle. pull
and gflll Widely

chll'

toward mouth

THEATER DESIGN AND TECHNOLOGY

FEBRUARY, 1972

Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1972