Backstage

From an idea of ​​Valentina and the work of all of us is born this set.
In an enchanted location, a cross between a fairy tale and a dream, Giada girl back, and runs between games by flying his balloon…
Despite the chiaroscuro also strong background, everything is soft, light, delicate; the trick is therefore built according to this prerogative.
Similar to wedding makeup, Paving the basis, I reinforced light and shadow on the eyes, as well as in general on the face. The colors used are reminiscent and mix well with skin tones, the design of the lips and eyebrows was treated and finished with natural colors, lips polished also with a little’ of clear gloss, the eye in the finished watercolor drawing.

The result is a light and bright makeup, almost invisible, which highlights the radiant beauty of Jade, like in a dream.

Have in common a beautiful girl, a bright red dress medieval, un make up fashion moderno, an aseptic environment and gray cement, architecture and geometric essanziale, that surrounds ?
Should ask the photographer (Gabriele Bertolini) who set and achieved in this set, snapping a picture on your dream photo shoot. Certainly the effect choreographic works well, and leads the subject, Elena, our model, to dominate the scene, Look for evidence of color, Look for the dress, Look for its natural beauty.

For the realization of the makeup I followed also in this case the 'classic': fatty base for contouring & highlights sul fondo, Transparent powder, eyeliner and powder on top, with tone on tone colors with those of the dress. Despite the heat of the day (plus you add the one generated by the dress, not just 'summer') makeup has held up well and allowed us to shoot up into the night.

The make up for this shooting is to be made lighter and spring, almost invisible, which enhances the natural beauty of the model (Maria Ida Righi was named Miss Reggio Emilia and has participated in 2003 the final of Miss Italy) surrounded by a bucolic environment almost Leopardi (CFR. “On Saturday the village”).

The trick has been achieved starting from a light and dark and light points (contouring & highlight) to highlight the depth of the face; technique also used on the lips.
Given the summer temperatures are entrusted me with a foundation based fat, then fixed with powder clear, technique now used routinely even in makeup and in the film Bride, and which provides excellent sealing.

Eyebrows were already a good design, I only comb and fill them with water color eyeliner.

Lipstick and pink blush to the cheekbones shaded eyelids have contributed to the model's face looks more radiant and natural.

REPRESENTATION in the 50s most of the world, and the United States in particular, a period of flourishing economic: the boom of the recovery after the second world war pervades all sectors. In music we say new rhythms, Rock'n'Roll was born that turns out to be not just a musical phenomenon, but also of manners: thousands of teenagers imitate the look and attitudes emerging rock stars. The TV sees the advent of color (USA, 1954) adjustment that will also shoot in film, creating a definitive break with the black and white of the past.

The make-up sees succession various styles and interpretations, born pin-up style that remains popular to this day, but also the delicate trick to Doris Day as opposed to the more sensual and languid Jayne Mansfield or Marilyn Monroe. The latter is the one actress who always populated the collective imagination, in her charming style and sensual, as a classic icon of recent years and, for this reason, is chosen as an example of makeup to recreate the look of the 50s.

(Jayne Mansfield)

(Marilyn Monroe)

The trick there.. and it shows! E’ precisely with the beginning of the year 50 fact that the trick starts to become a tool for corrective accessory charm. The woman is sensual, charmer, seductive, and how many more weapons has to exercise its charm, it uses many.

The color television, now within reach of many, helps make the image more vivid, spreads almost instantaneously new fashions and new looks from the spectators, where the shades of makeup will move naturally towards the red hot pink lips and cheeks of intense.

The false eyelashes, wigs and toupees are new tools of seduction available to all women, especially in the U.S. if it sees an increasing use starting from this period.

(50s Makeup)

(Make up anni ’50)

The realization of the make up 50s

As always, the base is made with funds based fat long-lasting, typical of the trick photography and film. Using a pinkish hue of the same shade of skin, I choose a color a few shades lighter for the area around the eyes and central part of the face, thus realizing immediately highlights and corrections (chiaroscuro). Hydrated and powdered her and beginning to lay the colors.

Drawing the eyebrows hair by hair, trying to give a shape that enhances the eyes, and at the same time remember the gull-wing design, just typical of the 50s. This design is characterized by an initial thickness rather high, which goes to taper in an almost uniform until the end of the eyebrows. The stretch is linear up to the point of maximum height, which makes an angle very noticeable, and linear descendant of the eye to the tail.

Marco then the eyeliner with a black drawing 'pagoda’ removal on the eyelid, Drawing the thin part and reaches the maximum thickness of approximately 1/3 and then go inside and stretch a few millimeters thinner than the tail of the eye.
The shading on the eyes is very important: The eyelid crease is marked with a dark color, gradient and a very light color further up the point of maximum height of the eyebrows.

Finally, drawing the full lips and round, a beautiful deep red color. A newly designed with a black pencil between his nose and guacia is the finishing touch for this look.

Features of the trick:

Hair characteristics:

The Second World War (1939-1945), protagonist of the first five years of this decade, only moderately affected the film industry in Hollywood, who saw in these years the emergence of big players (come Cary Grant, James Stewart, Gary Cooper, Henry Fonda , Humphrey Bogart e Ingrid Bergman) and the creation of memorable film productions (Casablanca, Kane).

Despite the current technology already ventilasse the possibility to realize color film (Techincolor), most of the films were still in black and white, because of technical difficulties and high costs of production (3:1 compared to white and black). It has in fact, that 1947 the production of color films represented only 12% of the total.

For this reason, the make-up was not particularly upset over prior to the '30s, but it represented a natural evolution.

(Rita Hayworth, 1946)

(Katharine Hepburn,1940)

The trick is natural, Portable, eyebrows have returned to their proper volume, frame the eye in a rounded design 'wing swallow'. Born the use of false eyelashes make-up of the great Hollywood actresses: long hair mink were glued to the end of the eyelid creating a completely natural and invisible to the eye of the beholder.

In these years is the mouth to dominate the scene: The design on the upper lip is rounded, As in the '30s, but until you zoom out often from his natural design (Judy Garland's pensi a, Veronica Lake, Katharine Hepburn o Rita Hayworth) while the lower lip will copy the volume, but assumes a drawing squared, wide and low to near the edge of the mouth.

Red (or auburn) is the dominant color in the colors of the hair of the hottest actresses in recent years.. because it was noticed that these shades were better defined and more readable by the film in shades of black and white.

(40s Makeup)

(40s Makeup)

The realization of the make up 40s

Starting from the base, I have stretched a fund fat pink tint and color not too distant dall'incarnato Model, on which I subsequently realized the light and shade, light on the nose, a little’ higher for the definition of the outline of the face and upper eyelid.

On the upper eyelid also have better defined the lash line with black pencil, then vanished in the direction of the eyebrow, thus creating a shadow which reaches up to approximately half the height of the eyelid.

On the lower eyelid I then spread a very light eye shadow color brown, Slightly faded to white below the height of the eyebrows.

The eyebrows were combed and filled with a light watercolor eyeliner color light brown (suitable for blonde hair)

Even cheekbones were dug by chiaroscuro, and cheeks rosy colors in a gradient.

I did not zoom operations on the mouth because it was already visible on the face, but I limited myself to redraw the boundary and inner edges blend it in with a darker color to give depth.

Features of the trick:

Hair characteristics:

For the realization of the base, I follow the canonical rules of cinematic trick: contouring (shading) e highlight (lights) specifically for a make-up that is there but not seen, that delivers maximum value for the bride's face hiding, if present, imperfections.

The subsequent attachment of makeup with a powder is transparent fontamentale importance in bridal makeup: In fact, not only obscures the skin giving a smooth and highly polished (matte) but allows the base to last throughout the day, maintaining the trick almost unchanged despite perspiration, contact and friction (kiss the guests after the ceremony of marriage), and possible tears.

Only at this point one can choose (we had done before him in makeup tests) if you delight in the harmony of colors offered by traditional wedding makeup make-up or throw in a stronger.

This type of choice is dictated by several factors, primarily of course the taste of the customer, followed by shades of complexion, hair and eyes, Also taking into consideration factors such as color and less obvious type of the dress and hairstyle, as well as the time of the ceremony.

(Anna bridal makeup, studio)

(Anna blonde bridal makeup)

(Anna bridal makeup, external)

While it is true that the harmony of color lies in the right balance of warm and cold of those, it should be noted that the same trick made for a bride dressed in cream will be much less noticeable on a white dress, as well as the makeup for a ceremony to be held in the morning will be interpreted lighter than an afternoon ceremony for a wedding makeup.

In this day where the bride will be featured both live and in photos, every detail is important, should therefore not overlook any detail, starting from the eyebrows. A fill light with a pencil a few shades more clear (unless your hair is not jet black) much help to frame the eye, as well as the definition of eyelid removal will make it look fuller and more defined.

Water proof mascara and lipstick to complete the long-lasting make-up.

Despite the decade 1930-1939 devastated by the beginnings of the collapse on Wall Street (October 1929) and the Great Depression, sees the female protagonist of notable events, awards such as Jane Addams with a woman's first Nobel Peace, the first crossing of the Atlantic Ocean alone by Amelia Earhart, the first participation in the U.S. government of a female presence (Frances Perkins); while cinema sees the birth of the first great female protagonists of talking pictures, femme fatale 'unreachable’ whose memory has come down to our days (think of Greta Garbo, Jean Harlow, Marlene Dietrich)

(Greta Garbo, 1932)

(Jean Harlow, 1934)

The make-up is partly inherited from previous year '20, in part reworked. The films that are used become more sensitive and are able to read well the light and shade, which in turn become important and studied ad hoc on the faces of actresses: ground and blush are no longer randomly applied on the cheeks, but find their technical function. During these years, unlike the previous decade, you can imagine the usefulness of chiaroscuro in the implementation of corrective makeup; and at the same time begins to spread to the sale of pancakes to the public (Max Factor, 1930) to become commonly used as a cosmetic.
The eyes, important, are framed with thin eyebrows and very high, in which the eyelid, sometimes slightly blurred, but always clear, takes up the domain.
The design maintains the round shape of the lips on the upper lip but the design is extended, covering from side to side throughout the mouth.

(30s Makeup)

(30s Makeup)

The realization of the '30s makeup

Starting from the base, I laid a fat bottom shades of ivory and light pink all over your face, on which I made all the gray, light on the nose, a little’ higher for the definition of the outline of the face and upper eyelid.

In the eye makeup I used a light color in the whole eyebrow, to make it look taller and round, and I decided on the line close to the lashes with a gradient line of eyeliner.

Even cheekbones were dug by chiaroscuro, and cheeks rosy colors in a gradient.

The mouth was drawn thin, with a rounded design on the upper lip, a dark red.

Features of the trick:

Hair characteristics:

Here is a proposal to make up for Carnival: fatal beauty!

As you can see from the photos, it's a trick asymmetric, where the right side of the face was made up with make-up rather marked beuaty, accentuating the light and shade of makeup on the eyelids and under the cheekbones, I realized while on the left face-painting of a skull with colored water.
Before you begin face painting, I covered the eyebrow with soap, to do it then disappeared under makeup.
To draw the skull I was inspired by a couple of pictures downloaded from the Internet (specifically from wikipedia, that).

The realization of face painting:

With the black color and a thin brush I have updated the guidelines that define eye, nose, mandible and maxilla, and the various teeth, helping with the feel and trying to follow the underlying bone.
Then I mixed white, yellow and a touch of black, for the typical color of the bones, preferring a shade a little’ darker, so that we can build on later, and chiaroscuro shadings.
I colored with white teeth, and nose, eye and the inner side of the square jaw with black, I also used to mark the boundary face.
Finally I created using the black shades and a big brush and almost dry, bringing into the dark inner points and using the white to create fake reflections (For example, on the forehead, cheekbone and the center of the nose) in the most obvious; and I added some detail with the brush nice and simple (a crack on the nose and under the eye).

Ok, perhaps a little’ scary.. Here it is !

The '20s (1920-1929) are also known as' The Roaring Twenties’ (Roaring Twenties) o 'Jazz Age',and witnesses, Europe in the early post-war, economic recovery (from which also the name of 'Golden Twenties') and other important events, including greater independence of women.

The cinema of the time, confirming in this decade, its widespread, is still silent, and the film insensitive, best suited to bring whites and blacks rather than shades.

The trick in cinema in recent years, even clear imprint theater, application is located on the characters of those men and women who not only serves as embellishment, but also to give a clear positive or negative connotation, that the characterization and state aid to the viewer.

(Gustav Fröhlich in 'Metropolis', 1927)

(bandits in 'The Kid', 1921)

It is therefore a trick whose dominant color is very clear (the basis) opposed to dark colors (eyebrows, eyes and mouth) and that they are still not using blush and chiaroscuro.

An example of this type of makeup you can find in Louise Brooks and Clara Bow, famous American actresses of silent cinema, that helped popularize with the theme of Olive Thomas ‘flapper’, uninhibited young girls who are critical of the generations before smoking, flaunting their youth, in opposition to past generations, bringing short hair straight or curly, short dresses (and sometimes with fringes fluttering, suited to do the Charleston) or to exhibit the arms and legs from the knee down, and making extensive use of makeup in public.

(Louise Brooks, 1928)

(Clara Bow, 1926)

This look is spreading faster among girls and fashion, enough to become a characteristic feature of the time.

It is identified by a short haircut, smooth or corrugated iron, a very clear makeup base that removes all the imperfections, eyebrows quite thin and rounded towards the corner of my eye, eyes rimmed in black above and below to confer expression and a thin mouth, designed 'to heart', with a double arch on the upper lip and a rather dark red.

Here's how I enjoyed making up Betty for her distinctive look here these years:

(Betty al naturale)

(Make-up the 20s -1)

(Make-up the 20s – 2)

The realization of the make-up 20s

Having laid the foundation of the fat makeup of a color rather than clear, shaded on the neck to get to the skin tone, I made a fading light and dark brown on the sides of the nose, in the contour of the face to 'detach’ the neck and oblique shadows on the cheeks, under the cheekbones.
The eye makeup, instead, obtained by marking the line between the upper eyelid and eyelid fixed, the line above the lashes on the eyelid just below the upper and lower lashes, was initially defined with a black pencil, gradient and then with a brush. This type of makeup is very similar to 'smokey eyes’ very timely in this period, but has a more rounded, not going to define the corner of my eye.
I then powdered with a transparent and neutral face powder all over her face, pulling the trick well in areas where usually tends to accumulate (crease between the eyelid and eyelid fixed, sides of the nose near the nostrils). The powder was determined by vaporizing water all over your face dry with a tissue and buffered.
Once in this way the base, I focused on the eye, going to weigh down the design just released with a black eye shadow, more pronounced on the upper and lower eyelid line and fold eyelid, maintaining a very nuanced eye round.
Followed by, I gave a little’ more strength to the eyebrows (already quite thin) using a black pencil, stretched to excess on the edge, to give the queues round the drawing very typical of these years.
On the lips, dark red with a pencil, I made the drawing 'at heart', characterized by narrow, fleshy upper lip, semicurve defined in two at the top and a semicurve to close in the lower.
Finally, to give a little’ of life on this face so full of light and dark contrasts I applied a subtle brush of blush on the cheeks. The hair, previously collected to make the make-up, were covered by a black wig, typical of the period with a cut.

Giorgia, 20s make-up

Giorgia, 20s make-up

Giorgia, make up anni’20

(Make Up in collaboration with Messrs. Bobbins and Mario Manlio Michisanti)
 

Features of the trick:

Hair characteristics:

The Palio of Pomarance, less famous than that of Siena, but certainly equally spectacular, Each year sees challenge in theater the city's inhabitants divided into four districts, assessed at the end of the event by a jury of industry professionals.
Also this year (I had already worked with the district of 'The Centre’ in 2008) I took part in the realization of the performance as head of makeup, assisted in the execution of the make-up of actors and extras from Giorgia and two girls of the district.
Makeup and costumes are original inspiration in the comic 'Cavalier of Gommasgonfia', in which Don Quixote, after a period of inactivity, back into the spotlight, But in a society that no longer belong to him anymore, driven by love for his Dulcinea will be to challenge a world dominated by technology.
The show takes place in a choreography and then strictly in black and white, to remind the viewer the idea of ​​comics, bulwark of amusement yesterday that the company wants to challenge what it is today, the wrong side of the multimedia: chat e interent, strictly color.
So,the show was held, the length of just over 20 minutes, that has staged 87 between actors and extras, All make-up on the spot and eventually won the Palio as a better representation.
All the characters have been loaded with water-based paints, the bottom of which is lying on the sponge or airbrush, and to complete the trick has been applied prosthetic noses made of latex (Hence the creation of the backstage) , cap, mustaches and beards.
To fix the makeup on your face I used the hairspray, that has been sorely tested by the hot temperatures of the day.