Figure 2 Lay in shadow areas using a dark red-brown grease or creme. Figure 3 The shadow modelling must be done strongly. but the edges left sharp only where the facial structure demands. Figure 4 Lay in highlights using white. Every shadow area should have corresponding highlights. The white areas must be very strong in relation to the shadow areas. since the finish coat will tend to cancel out the white more readily than the shadows. Figure 5 After blending mid-tones (between the shadows and the highlights). apply face wrinkle lines with their highlights. Maroon and white pencils are fine for this and are generally preferred for control and ease of use. Figure 6 After blotting the makeup with a clean tissue. cake makeup is stippled over the entire face with a wet sponge. Additional cake applications can be made to reduce contrast. Special care should be taken to pat the cake selectively on the shadow areas after the initial overall application. so as not to neutralize the highlights. Figure 7 The finished makeup for an arena theatre seating 185. Further reduction of the contrast is possible through the application of additional cake. If multiple applications of cake produce too "masky" an effect. a lighter value of the red-brown grease is recommended. NOTES: The materials used in the photographs are as follows: A. 3/e" flat ferrule red sable brush for applying the shadows and highlights: natural siik sponge for the cake. B. Stein's Velvet Stik #9 Red Brown and White: Mehron Cake #27A: Paramount Pencils. maroon and white. 2 While the effects shown in Figures 3 and 4 are mask-like. it is essential that the contours be based on the shape and potentials of the face and not be allowed to become abstract shapes. Strictly speaking. there are no lines applied until Figure 5 USITI Fall. 1982 when the creases are defined. Rather the facial contours are contrasting areas. 3 A good technique for blending the edges of the grease creme areas is tapping along the edges with a finger tip. This method has proved effective especially for beginners. 4 In the unlikely event that too much cake is applied. it can be washed away to some degree with a wet tissue. 5 Until the eye is trained to read the desired contrast and definition of the makeup. the actor should do the final touch-ups with cake under the actual stage lights. using an assistant to check the effect from the viewing distances of the performance. 6 Recommended reference: Richard Carson's Stage Make-up, 5th ed" PrenticeHall. Inc. Chapter 12. p. 71. of the 5th edition outlines the technique described here. Earlier chapters are excellent references on laying in the shadows and highlights. The 4th edition of this text is also recommended. and in some ways is superior to the later edition. 0 George Black is an associate professor of drama at the University of Virginia and was Artistic Director of the Heritage Repertory Company. The actor pictured is Randy Benjamin of the Heritage Repertory Company. Theatre Design & Technology 19