Theatre Design & Technology - Feb 1972 - 29

The contrast highlight is applied only in
the little tria ngles where the jowls join the
wrinkles and where it joins the next large
jowl to be painted. Don't carry the contrast
highlight along the full length of the jowl.
Instead, soften the sharp edge of the midjowl so that it doesn't appear too sharp
(Figure 14).
Second Jowls
The second and larger jowl starts in the
same manner as the first. This one runs
down along the jawbone all the way up to
and behind the ear. Blend this jowl in the
same way you did the first. Since it is
larger, the area to be painted is larger.
However, don't be tempted to use any
darker or greater intensity of paint (Figure
15)
Fig. 12. Frown wrinkle is created f"st on forehead
and rest of forehead is shaped with shadows and
highlights, giving impression of greater bone promin-

Fig. 13. Nalural shape of nose is followedtn shading.
Shadow disappears into base where nose joins face.

ences.

Paint the two sides of the face as mirror
opposites. Learn to observe carefully. The
jowl is deceptively difficult to paint and
must be used with discretion. It is usually a
sign of more advanced age or is evident in
middle aged people who tend toward stoutness.
Neck
You would be amazed at the vast number
of actors whose aging process stops at the
jawbone. Although it may not be a very expressive part of the face, the neck ages just
like all the other parts of the body.

Fig. 16. Wlfldplpe

IS

First, shadow both sides of the windpipe
and blend again towards the center and
highlight the center (Figure 16). Next create
a few folds down the length of the windpipe and blend these up into the base and
highlight (Figure 1 7). Next shade both top
and bottom of the large neck muscle cords
(Figure 18). B lend these shadows toward
the center and highlight in the middle. The
two large triangle shaped areas between the
neck cords and the windpipe must be subdued and sunken in the same manner and
for the same reason as the empty areas of
the forehead were.

shaded and highlighted.

Painting the Chin Area
The aging in and around the chin is softer
and more subtle than those areas with more
prominent folds. Folds tend to occur in
areas where there is a dominant bone structure. Sagging flesh falls from these bony
prominences. The area under the mouth is
one such structure: a bony mass of chinbone and the teeth. The flesh covering this
bony mass is what we work on to create
our aging effect.

Fig. 19. Area around moulh is aged. Fold IS crealed
below mouth, folds at cornerS of mouth, wrinkle under
chin, and cleft over upper lip.

~

THEATER DESIGN AND TECHNOLOGY

Fig. 20. Cornpleled effect of agmg.
Photos by Susan E. Mayer

FEBRUARY, 1972

With a brush, apply appropriate shadow
mixture under the center of the mouth and
shape it down and around the fold of flesh
under the lower lip. With a gentle patting
technique, blend with your fingertip, lightly
following the shape of the fold. Diminish
(Continued on page 37)

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