Theatre Design & Technology - Feb 1972 - 27

Apply a high point highlight to its crest.
Blend this highlight both towards the wrinkle
and towards the mouth so that it disappears
into the base, varying from 1 IS" to 1/2"
at its widest. Apply the contrast highl ight.
Touching the darkest point of the shadow,
blend this away from the direction of the
wrinkle. Make sure that the beginning and
end of the wrinkle disappear into the face.
Always check for splotches in the grading
of both shadow and highl ight (Figure 9).
Painting the Top Half of Eye
In order to understand the variety of ways
to paint the area above the eye, you must
consider the three separate parts of that
structure: (1) the eyeball and its socket;
(2) the prominent bone above the eye;
(3) the hollow next to the nose.
Fig. 3. With clean finger. gently blend shadow to
ward hairline

First sink the eyeball. With your brush,
pick up a small quantity of the appropriate
shadow. You will use the edge of the
brush to paint the deepest point of the
shadow. Start at one corner of the eye,
continue along the top part of the eyeball
until you reach the edge of the bone at the
eye socket.
Clean the brush. With the flat side of the
brush, blend the paint towards the eyeball
and then blend with tile fingertip until it
disappears into the base. Apply the high
point highlight along the lid, and blend this
into the base. Powder this area very lightly
so that this work will not blur while you
paint the rest of the eye.
Now follow the same area, this time
blending in the opposite direction.

Fig. 6. Blend shadow mixture so that 11118 IS darkest
at onginal IlOe and disappears II1tO base.

With your brush, apply the shadow mixture along the top part of the eyeball, as
you have just done. Follow the shape of the
eye bone up towards the brow and then
around and down into the eye socket area
and then around and up the eye bone towards the outer edge of the eye. Blend the
shadow towards the corner of the eye and
up towards the brow, exactly the opposite
direction you blended earlier. With your
fingertip, blend the paint to shape the
roundness of the bone. Put a high point
highlight on the bone. Blend this into the
base. Finally, apply shadow to the deepest
point of the eye hollow in the corner of the
nose and blend the shadow out to meet the
other areas of shadow application. Powder
the entire eye before proceeding further.
Lower Half of Eye
In aging, the lower part of the eye
involves more than a single structure.
as we did in the area above the eye,
we will consider the lower part of the
ball and its socket.

Fig. 9. Blend high POint highlight towards mouth
COntrastlng 11Igl111ght away from \\unkle
Photos by Susan E Mayer

C§D THEATER DESIGN AND TECHNOLOGY

also
Just
first
eye-

With your brush, apply the appropriate
shadow just below the eye, following the
shape of the eyeball JUSt under the lower
lid (Figure 10). This paint is then blended

FEB RUARY, 1972

up towards the eyeball into the base. The
high point hghlight is applied at the eyelid,
just below the eyeball, and blended into the
base.
In the lower eyeball area, use a contrast
highlight and apply it next to the shado ,
blending it down from the eye and into the
base.
Next, we form the eye pouch or eye bag.
This hanging fold of flesh may be varied,
according to your preference, to extend
from the inner corner of the eye, halfway
to the outer corner, or it can extend three
quarters of the way, or it may extend all
the way to the outer corner of the eye as
shown in these illustrations.
To create this lower fold, apply shadow
with the brush, starting from the inner corner of the eye and extend it down as far as
you wish the bag to go (Figure 10). The
shadow is then blended up towards the
eyeball with the brush, and is blended into
the base. The contrast highlight applied
underneath the eyeball structure will be sufficient for a high point highlight in this
structure. The lower fold requires a contrast
highlight below, which blends down and
away from the fold. (See the completed eye
in Figure 1 1) .
Frown Wrinkles
The small folds in the forehead-the
frown wrinkles-ought to be accurate. They
are more pronounced in the aging face than
in the youthful one. Make the depressions
as the role demands: they can be light in
tone, or dark and intense, depending on the
effect you wish. They should not be symmetrical or equal in size.
With a small amount of paint on the
brush, shape the fold at the frown line.
This can be found by frowning strongly and
by then relaxing the forehead. Carry the
line into the deep sinking of the eye. Blend
it up and around into the base. Give the
wrinkles a light high point highlight and a
light contrast highlight. These small wrinkles act as a starting point for shaping the
prominent eyebrow bone sinking to follow.
Age also affects the forehead itself. The
flesh, as it sags, reveals the bones in the
forehead. This should be conveyed in the
makeup as well. With a small amount of the
appropriate shadow color on your fingertip,
lightly pat a continuation of each frown
wrinkle around the deepest point of the
prominent bone above each of the eyes.
Carry this bit of shading all the way around
the eye to where the depression joins the
temple sinking. Gently blend this shading
down and in towards the eye and accentuate it with a high point highlight above the
eyebrow. Do the same with the massive
round bone prominences in the center of
the forehead.

27
Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1972
