Theatre Design & Technology - Feb 1972 - 37

(Continued from page 29)

the intensity of the paint as you reach the
point outside the mouth. Blend this shadow
up towards the lip and out towards the
outer corners of the mouth. Apply a light
high point highlight to the highest point of
the mouth and blend this into the base.
At the corners of the mouth you may
create a small sagging fold of flesh using
the wrinkle technique. Here, however, you
are working in a much smaller area than
you've done previously, and you will be
creating a much smaller fold of flesh.
Therefore, use a less intense amount of
shadow than you did in the major wrinkles
(Figure 19).
Painting Area above the Lip
The area below the nose and above the
upper lip presents a definite problem in
making up the aging character. The area is
comparatively firm-which means there are
no major wrinkles-yet it cannot be ignored.
The cleft below the nose and above the
upper lip is a most difficult area to recreate.
It is a natural hollow and its appearance is
constantly changing because of the light
that casts its own natural shadow on the
cleft. In creating the cleft, we can only

show the shadow as it is cast from one
side. With a brush, apply a small amount of
shadow along one ridge of the cleft, starting at a point beneath the nose and shaping
around and down towards the top of the
upper lip. Blend this paint in towards the
center of the upper lip where it will disappear into the base. Soften the outer edge
so that it does not present too soft or too
harsh a line.
Graying the Hair
Another area of makeup that too readily
lends itself to theatrical caricature is the
graying of hair. When graying the hair, make
an effort to avoid the cliche (that distinguished look!) of white temples and a silver
streak up front.
Graying the hair requires no great skill or
ability. Using the technique intelligently
does. Graying is a slow, gradual process
throughout the entire head of hair. Moreover, most men lose their hair simultaneously, which means that partial baldness
communicates the aging process most effectively in combination with graying.
Obviously, you're not going to remove
your hair for an acting part, but you can
give the illusion of greater age and loss of

hair by changing the direction you comb
your hair. For example, make a part far over
on one side and then comb the hair as flat
as possible over to the other side. This
simulates what many men do when they
are actually losing their hair. Some gray
added judiciously to this hairdo can create a
very good illusion.
Applying the gray is essentially the same
whether the material is liquid, cream,
grease, or pancake. (Avoid using powderfor
graying. It shakes its remains throughout a
performance.) Pick up a small quantity of
the material on a toothbrush. Using the tip
of the brush, apply the gray lightly on the
hair, following the direction it is laying. Use
a comb to break up any excess amounts.
Try first for a salt and pepper effect and
then build it up to the intensity of gray you
need. Don't be in a hurry. Do it slowly and
do it right.
If you choose, you may use a touch of
the graying material on the eyebrows. If
your role is of an old enough person, you
may even add a touch of gray to the eyelashes. Facial hair, which has been grayed,
is also another means of indicating age.
Experiment with all of these for the time
being and be critical of your efforts.

THE EDITOR REGRETS AND APOLOGIZES
ACTING
DIRECTING

FOR THE LATENESS OF

SCENE DESIGN
COSTUME DESIGN
3 THEATRES

LIGHTING DESIGN

EXTENSIVE SHOP FACILITIES

TECHNICAL THEATRE

THIS ISSUE AND FOR THE INCONVENIENCE
IT MAY HAVE CAUSED

LARGE PRODUCTION PROGRAM

B.A & MA PROGRAM IN DRAMA

BOTH MEMBERS AND ADVERTISERS

THEATER DESIGN AND TECHNOLOGY

FEBRUARY, 1972

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