Makeup Bride: il make up
by Stefano on Feb.20, 2012, during Beauty, Events, Make Up
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.
Make up anni ’30
by Stefano on Feb.14, 2012, during Beauty, Events, 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:
| Base: | Light-colored and pink, contouring and highligh made in a workmanlike. |
| Eyebrows: | Thin and high forehead, that leaves plenty of room on the upper eyelid that you can play with light light and shade of the eyelids fixed and mobile. |
| Cilia: | Bending the outer portion upwards with the mascara, without burdening. |
| Eyes: | Moderation is shaded on the upper eyelid (very high) that on the lower, to give depth to the eye. |
| Lips: | Remains the round of the lips typical of the '20s, but the design is stretched to the corner of the mouth. The color is dark red. |
| Hairstyle: | Hair behind, biondo Platino, curled with the iron (Jean Harlow stile) |
Hair characteristics:
| Platinum blonde and wavy | Jean Harlow (Platinum Blonde, 1931) |
| Marlene Dietrich (The Blue Angel, 1930) |
Actresses / actors of reference: |
Movie Title: |
| Jean Harlow | Dinner at Eight (Diner at eight), 1933 |
| Marlene Dietrich | The Blue Angel (The Blue Angel), 1930 |
| Carole Lombard | The Gay Bride, 1934 |
| Carole Lombard | The incomparable Godfrey (My man Godfrey), 1936 |
| Claudette Colbert | Mrs. Midnight (Midnight), 1939 |
Ideas for carnival 2012: fatal beauty !
by Stefano on Jan.30, 2012, during Body Painting, Events, Make Up
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 !
Make up anni ’20
by Stefano on Dec.28, 2011, during Beauty, Events, Make Up
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:
| Base: | light-colored, without light and shade or blush |
| Eyebrows: | rather thin, ben marcato, rounded the corner down |
| Cilia: | bending the outer section up with mascara, without burdening |
| Eyes: | shaded darker on the upper eyelid, which is on the bottom, to give depth to the eye. Black pencil inside the eye. |
| Lips: | thin, 'At heart': rounded in a double semi-circle on the upper lip, of dark red |
| Hairstyle: | short hair, straight or curled with the iron on a regular |
Hair characteristics:
| Castle Bob: | who later became the famous 'bob', o ¾, owes its origin in 1915 the dancer Irene Castle became famous starring Clara Bow and Louise Brooks, the early 1920 |
| Finger wave: | swaying hair made my hair with a hot iron in opposite corners, so that it obtains the typical appearance to 'S', and then flattened back of the head with the use of an oil |
Actresses / actors of reference: |
Movie Title: |
| Louise Brooks | The Pandora's box (Pandora's Box), 1929 |
| Clara Bow | Dancing Mothers, 1926 |
| Norma Shearer | The man who takes the blows (He Who Gets Slapped), 1924 |
| Edna Purviance, Charlie Chaplin | The Kid (The Kid), 1921 |
| Greta Garbo | The Saga Of Gosta Berling, 1924 |
| Marion Mack, Buster Keaton | The General War (The General), 1926 |
| Gertrude Astor, Harry Langdon | The big shot (The Strong Man), 1926 |
| Brigitte Helm | Metropolis, 1927 |
| Gloria Swanson | Sunset Boulevard (Sunset Boulevard), 1950 |
Not only vampires on Halloween !
by Stefano on Nov.09, 2011, during Special Effects, Events
..old, during the month of October because the demands of cosmetic dental implants have multiplied, and specifically:
Teeth zombies:
As you can see from the photo of the model, different from that specified in tutorial, to make these prostheses I just shaping the tips of the teeth existing mold. The result was a faster implementation and a much thinner implants, that if one side makes it more fragile and delicate, the other makes it even more comfortable and more subtle.
The prosthesis is double, because it was made for the upper jaw for the lower, maintaining a good chance of closing the mandibular.
It should be noted that increases the realism by adding small details of color and a good polishing.
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Vampire teeth:
A small variation on the classic theme of 'vampire teeth'.. I reached the second incisors as well as the canines, and did a little’ sull'attaccatura top of the central incisors to make them bad. The root of the canine was discovered and moved higher up to simulate a greater length of the tooth.
Since the realization we are not bound by specific design, every time you create something new and different, thus adapting the model to the trends of the moment or to a specific request, as in the case of replicas for imitators, cosplayers, etc..
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Cosmetic prostheses real:
These false teeth’ have good coverage of aesthetic realism used to make a more pleasing smile that present a problem ugly (Attention: This is NOT a medical implant / but a simple cosmetic dental prostheses. It is therefore intended as temporary cover for use in a movie set, for cosplay, or in the theater, for the time necessary to acting / role of the).
Not create any difficulties in speech but NOT can be used for food and eating / o bere, sleep.
Membership in the mouth is guaranteed by the bill, that is being made on the calculated, fits perfectly with the underlying tooth, without requiring the need for glues or other fastening devices. It is sufficient to remove it gently pull it down. This is cleaned by washing with an antibacterial soap is not colored or neutral color and a mouthwash that contains no alcohol (without letting in immersion) and let it air dry then.
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The teeth of the Lola
by Stefano on Nov.07, 2011, during Special Effects, Events
After watching the video, kindly, our Memole posted Teeth on youtube that I realized, Lola, famous Drag Queen of the Art Club of Madame Sisi and friend for a long time, thought it could not be outdone. Of course, with some small change.
To descend even more into the character it, not at all interested in two sharp fangs as a vampire, but a beautiful arch of white teeth and sparkling, drittissimi, you can put on and off with ease, and without impediment during speech.
So, Once the cast taken, I went to work.
Following step by step the same steps described in the tutorial of vampire teeth, I made the model, mold and positive for both arches, with particular attention that the closure would remain good, namely, that the mouth is closed under the denture (jaw) adasse not to interfere with the upper teeth (jaw).
Here are some photos of the stages of construction.
How to create a fake nose for theatrical use latex
by Stefano on Oct.12, 2011, during Special Effects, Events
Here are step by step illustrated instructions on how I made the noses for a few characters of the Palio of Pomarance.
Since this is a play which did not require the likely make-up make-up film, and being the nose part of the face little flexible and deformable, I thought it was not necessary to use latex foam to achieve this type of prosthesis, but could also work well on liquid latex precured.
The first step in the realization of the prosthesis was then the study design (the whole show was created and developed around a comic) and the creation of the model.
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Even with the positive provision of a nose (my! 🙂 ) plaster work on, and that I used as reference for the size, for convenience I made a table of all PVC (my kitchen cutting board).
After the modeling phase of the clay (Here I used the very common Pongo) and recreated a thin orange peel to simulate the effect of the skin, I used the cutout of the base of a bottle to surround the model and create a containment for the casting, as well suited in size, and then I poured the plaster to get the impression.
At this stage it is important to ensure that small air bubbles inevitably present in the water / gypsum leave, thus avoiding that create imperfections to the mold. To do this, fully paid after the plaster into the mold, just beat vigorously on the basis of which it supported the model, creating vibrations.
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Obtained the mold and removing the model pose, which will leave the imprint 'clean', you can proceed to the first molding.
To do this you must pay a minimum amount of liquid latex mold inside, and then moving the same to make the latex go to cover only the areas concerned, preventing or oozing from the mold is at the bottom.
The mold should be left to air dry (if you want you can speed up the processs with a hair dryer) and at the end all be exposed to the latex powdered with talcum powder or neutral boron-. This will prevent the latex from sticking to itself during the extraction.
Generally a single layer of latex is very thin and is not sufficient to ensure that the prosthesis has achieved the required consistency, to make it more rigid, you can create other levels following the first, but left margins after 'climbing’ the distance 1/2 mm from the edge of the previously created, to ensure that the edges, remaining thinner, risultimo invisible once pasted.
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Once you reach the desired thickness, powder for remembering everything well, you can proceed, by lifting a corner of the latex and shoved under a brush full of talcum powder, to pull the nose of the mold.
What should be done by becoming aware that the objectivity achieved not fold on itself, sticking beyond repair.
Below is presented as a separate noses from the plaster, ready to be applied and colored.
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Character Make Up the Palio of Pomarance, 2011
by Stefano on Sep.15, 2011, during Body Painting, Events, Make Up
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.
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Make up for video production commercials Mutti
by Stefano on Jul.28, 2011, during Beauty, Events, Make Up
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Contacted by the agency that was responsible for directing and implementing the movie, I turned the white skin of the actor, in the tan of a farmer who spends his life in the countryside.
The trick has been achieved with a slightly orange cream base, lying on the sponge on the face and arms, buffered with a dark powder, and then airbrushed shaded in darker parts (backs of the arms, front, tip of the nose and cheekbones) with a chocolate brown color, to give the proper effect of a brownish skin and sunburned.
All this took place on location in the estates Mutti, at the foot of the castle of Torrechiara (Parma).
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