My goals! I would like to be know'n by my work, I really enjoy it. I like to make a difference in people life, by making them feel confidence about them self.  I would like this website to help, by giving me more work and keep me busy.

(STYLE)

A professional makeup artist job may involve performing the following tasks:

• Prepare the skin for makeup application and remove makeup as required
• Demonstrate cosmetic products to clients
• Instruct clients about makeup application
• Apply a wide variety of professional make up products
• Design wigs, beards, masks and 'prosthetics' (artificial body parts) and apply them to achieve an appropriate character appearance
• Use makeup to produce effects such as aging, illness, scars and bruising
• Alter or maintain makeup during productions to ensure the continuity of a performer's appearance
• Advise hairdressers on the hairstyle required for character parts.
• Communicate with clients to clarify what look is required;
• Read scripts to ascertain materials/look required/budget implications, known as production study, which may require further research;
• Produce and sketching design ideas;
• Work with other members of the design team to ensure the overall look/effect is consistent and coherent;
• Build a rapport with makeup subjects;
• Demonstrate and implement a practical understanding of lighting, the photographic process, colors and the impact of special effects/makeup processes on the skin and ensure that appropriate action is taken to minimize or eliminate any unpleasant side effects from the use of specialist make up/hairdressing techniques;
• Ensure continuity in hair and makeup, taking detailed notes and photographs of work
• Cast facial and body molds, sculpting latex foam - known as prosthetics;
• Manipulate/apply wigs, hairpieces and prosthetics;
• Maintain wigs, hairpieces, prosthetics and other specialist materials and equipment;
• Hairdressing, which is an essential part of the work;
• Plan, budget and order equipment and materials from specialist suppliers;
• Work quickly and accurately in time-pressured conditions.

(Freelance) Mac, Shu Uemura, Lancome Paris, Giorgio Armani & Any Special Ocasion i can do.

(I CAN DO ANY THING YOU SEE IN A MAGAZINE)

(YOU MAY REACH ME BY EMAIL)

[email protected]

(this is not credits)


History of Hollywood Make up

It all began when make up artists first entered the scene many years ago. Initially, cosmetics were scarce, and actors would spend hours and hours before they were finally made up.

If you’d like to know what the first make up brands were, and the top makeup artists of the day, or Greta Garbo’s make up tricks, among others, read this article carefully as we retrace the history of Hollywood make up.

The makeup artist’s craft began to be increasingly recognised in the 1930s. It’s important to note that makeup artists were not highly considered from the outset, because most of them were out-of-work actors who took make up as a second option.

This becomes easier to understand if we bear in mind that actors (be they theatre, or early-movie actors) had to be able to make themselves up.

Nevertheless, by the end of the silent era, studios were beginning to hire people to be specifically responsible for make up, and this was the birth of the make up artist.

And characterisation was all the more important in classic Hollywood where little was known about make up (makeup artists were hired for movies only from the ‘30s) and where products were scarce.

But the early days of this new profession were no bed of roses, far from it –and neither was it so for those unfortunate actors who had to bear the agony of spending four hours sat in a barber’s seat.

The Westmore dynasty were pioneers and among the most important in Hollywood’s make up scene during the silent era, when George Westmore, a Jewish Cockney, set up the first make up department in the history of cinema, at the Selig Studios.

Probably some eighty percent of all movies made in Hollywood in between 1930 and 1950, had Westmore’s name among the credits.

Jack Dawn, for example, managed MGM’s make up department for four years. His team had good facilities, adjustable barber seats, many mirrors and adequate illumination, and demanded that it’s employees be treated as artists, not technicians, despite their craft being an extremely tough one.

William Tuttle started out as a Fox apprentice, working under Dawn. Thus, he started out sweeping and scrubbing floors, as Dawn was a cleanliness freak.

He typed, wrote reports, ran errands and answered the telephone. “I would prepare all his make up, all the colours, and that’s how I got familiar with what make up the actors wore.

There was no established system for young people to learn the trade. You’d enter it bit by bit. No apprenticeship period was agreed on; you just began when they thought you were competent”, Tuttle remembers.

One day Dawn looked at the sketches that Tuttle had made for Fox, and that was when he thought he would make a good makeup artist. He began by letting him help out on tests. One day, the person in charge of make up on THE MARK OF THE VAMPIRE (1935) didn’t show up, and they sent Tuttle on as a substitute until they could hire someone else.

He himself ended up taking charge of work n that picture. When Jack Dawn moved to Metro in 1934, he took Tuttle with him.

Jack Pierce and Maurice Seiderman were two famous makeup artists who worked during the ‘30s, and thanks to whom the movie market was revolutionised.

Both sttudied human anatomy in an effort to make their characterisations more realistic. Pierce was behind Boris Karloff’s transformation in Frankenstein and Bela Lugosi’s in Drácula.

Pierce continued to work on characterisation in all the films made around the Frankenstein story that followed the first version, such as:

THE BRIDE OF FRANKENSTEIN (1935), SON OF FRANKENSTEIN (1939), THE GHOST OF FRANKENSTEIN (1942); FRANKENSTEIN MEETS THE WOLF MAN (1943); HOUSE OF FRANKENSTEIN (1945), etc.

But he also had the chance to show his creativity by creating other monsters that have appeared in the history of the terror-movie genre.

From the title character in THE MUMMY (1932), to the one in WEREWOLF OF LONDON, etc.

Seiderman, for his part, was able to perfect the human ageing process to such an extent that he created 37 different “faces” for Orson Welles in Citizen Kane. The actress Jane Wyatt was frankly overwhelmed upon entering Universal’s make up dept. for the first time.

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