About this film The Story of Cosmetics, released on July 21, 2010, examines the pervasive use of toxic chemicals in our everyday personal care products, from lipstick to baby shampoo. The rich colors of the era’s paintings helped influence the colors of 1920s makeup and the sharp edges of 1920s hairstyles. The parade’s gone by. A technological history of motion pictures and television: An anthology from the pages of the journal of the society of motion picture and television engineers. The seven-minute film reveals the implications for consumer and worker health and the environment, and outlines ways we can move the industry away from hazardous… 1912 Make-up on a D. W. Griffith picture. At first he worked for the famous make-up comedians. Hollywood: The pioneers. It is this shadowing that gives most of the character to the eyes; but at the same time it is apt to age the whole face. The Americans rely upon broad effects and masses of players, but here we have made personal appearance a fine art. However, in close-ups this had to be achieved without using heavy make-up. • Different shades of eye shadow (browns for eyebrows, blues, greens and teals for the eye lids and brow bones) to accentuate the famous “Flapper Look” Green or blue make-up was also used due to its high actinicity with blue-sensitive film. It does not photograph as dark as brown, being a mixture of yellow and blue, but it will photograph darker than blue alone. Let the actor make-up with grease-paint if he has a rough skin but let it be flesh-colored paint, not yellow. October, 22-24. Many a well-known “star” of today entered in the industry without previous experience because he or she possessed a camera face. hair to shoulder length. How to become a film artiste. Lets talk about the changes in light in the 20’s witch had a great impact on the screen and the selection of make up. For most part this meant stage greasepaint and powder. Cincinnati: The Standard Publishing Company. K. (1968). Make-up enabled actors to adjust their skin tone and hide skin blemishes but it could also flatten out their facial features. How does the Spleen work for losing weight. Max Factor, a Polish-American cosmetician and former cosmetics expert for the Russian royal family, invents the word “makeup” and introduces Society Makeup to the general public, enabling women to emulate the looks of their favorite movie stars. Typically women would line the entire eye for maximum definition.
Later closed arc lamps – often called ‘Klieglights’ in the United States after the Kliegl company, a major supplier – did not have this problem. New York: Columbia University Press. If your skin does not appear normal, except in matter of color, your grease has not been rubbed in sufficiently. A second but equally important function of early film make-up was to make the best of an actor’s facial features. Various shades for the famous deep red “Cupid’s Bow” (Heart-Shaped) lips. The theory that it is impossible to employ make-up in acting for the camera is pure fallacy. Makeup was worn almost exclusively by movie stars and musicians between 1900 and 1919, according to Vintage Makeup Guide, a sister-blog of GlamourDaze that documents the history of early cosmetics. The make-up which relates to them is all important. Many have wondered how the faithful representations on the screen of well-known historical personages have been accomplished. Every actress dreads them, for they are simply cruel to the eyes, and to work within a few feet of eight or ten ghastly, hissing, flaming arcs will unnerve the strongest of us. The lips and the area surrounding the eyes are tinted with a color having a bluish cast such as heliotrope or mauve. Colour charts to represent how blue-sensitive film registers colour in shades of gray (Modified from Eastman Kodak Co., 1919). Most early black and white silent movies were made using blue-sensitive or orthochromatic film. Max Factor’s Supreme Greasepaint packed in hygienic green tubes. Gregory, C. L. We noticed that almost every subject photographed was rather spotted and in some cases the lips were either very light or exceptionally dark. Brownlow. The edge of the upper eyelid is clearly lined. The photographic value of the pigments used in the preparation of these make-ups, were such that the resulting subject on the screen was soft and the texture of the skin itself photographed natural, eliminating all possibility of unnaturalness. The poor results obtained with make-up by artists in the early days of the screen play were entirely due to ignorance of this difference and neglect to submit the demands of the camera to a scientific analysis. The greasepaint liners and crêpe hair were still essential for special effects – such as when scars or wrinkles were required or when actors had to age – but they had to be used more discretely. In the early days of film, some screen stars, particularly men, refused to use any form of make-up but most were eventually persuaded to do so. Regular features go a long way toward screen beauty. The art of make-up, for the stage, the screen, and social use. Mees, C. E. K. (1954). so today we present to you 10 great makeup artists and the creations that made them famous in Hollywood movies. This was very sensitive to violet light, markedly sensitive to blue and ultra-violet, much less sensitive to green and yellow light, and insensitive to red. Los Angeles: Author. Makeup “specialists,” many of whom had started assisting actors with makeup in the late 1910s, were called in to figure out how to adapt the greasepaint to the new film. The space between the eyelid and the eyebrow is variously colored, the object being to bring out the white of the eye and make the latter more brilliant. It is very hard to tell how a skin will look in a photograph; when I say “photograph” I mean pictures made in the glare of Klieg lights. (1917). Colour charts to represent how panchromatic film registers colour (Modified from Eastman Kodak Co., 1919). Like rouge, lipstick is red and therefore photographs black on blue-sensitive film, so it had to be avoided or used sparingly. Rouge could not be used to highlight cheeks as, being red, it would be rendered black by the camera making the cheeks look hollow and the actor gaunt. One really should be a portrait painter to obtain the correct effect. Berkeley: University of California Press. Early open arcs also produced arc-light dust which irritated the actor’s eyes when it got into them. 1910 Vitagraph film studio using Aristo arc lights to supplement natural daylight. However, this was, by now, becoming increasingly controlled by studio make-up departments. Vail, 1947. A second problem was lighting. 22-24).
Cameramen frequently used some form of blue glass filter to help them judge how blue-sensitive film would record a scene. 1927 Makeup artist Jack Dawn [1892-1961] trimming the sideburns of the actor Tim McCoy [1891-1978] during the filming of California (MGM, 1927). Artificial lighting created problems for early screen actors but it also opened up new possibilities. Leichner referred to No. Bernique, J. We can’t deny that the 1920s were the decade which ushered in modern fashion. 27, or the Leichner Light Yellow that comes in a porcelain box, as a foundation. Given the make-up colours used for the black and white make-up it would appear that the suggested black and white make-up is for blue-sensitive or orthochromatic film. No stage artiste, no matter what his or her reputation or experience, can enter the silent drama for the first time with an all-comprehensive knowledge of the art. Some actresses painted their lips very dark but a light colour was more generally used and/or the lipstick was applied very lightly. The adoption of sound recording after 1927, resulting the replacement of arc lamps by tungsten lamps in the studios, also played a role, as did the release by Du Pont of its panchromatic film onto the American market in 1928, and the introduction by Eastman Kodak of Cine Panchromatic Type II film in the same year (Mees, 1954, p. 126). Stage make-up is out of the question in the motion picture studio for the pinks and yellows so commonly used in getting flesh tints are distorted in color value in the film. The make-up worn by Dustin Farnum [1874-1929] (front) gives him a mask-like look.
The Cooper-Hewitt mercury-vapour lamps used in American film studios produced a soft, blueish-green light that was ideal for blue-sensitive film but made everything looked unnatural on the set. Film Folk. The use of these ‘unnatural’ colours had its critics. (pp.120-124). Makeup - actor, film, director, cinema on Film Reference. Brown is often chosen by blondes, sometimes red. As motion pictures became more sophisticated through the 1910s, directors began to insist on more a natural look and the mask-like faces of earlier films disappeared. Prominent jawbones so treated appear much narrower. 5 greasepaint or similar, sometimes used for a ‘Chinese’ make-up on the stage. Breaking into the movies.
Although an interesting ‘camera face’ was not essential for becoming a screen actor – acting ability was also important – it was highly desirable. The resultant screen tone is a soft dark gray, that suggests the real color of one’s lips much more accurately than the hideous black so often seen on the screen. (pp.
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