It is necessary that the amateur who wishes to make his efforts at private theatricals a success should have a fair knowledge of the art of “make-up.”

While no great amount of money need be expended, at the same time the best results can be obtained only from the use of good cosmetics. Grease paints, obtainable from any purveyors of theatrical appliances, are excellent and not very expensive.

There is no doubt that many people consider it quite sufficient to dab a little paint on the face, smear it over carelessly with the addition of some powder, and imagine, quite erroneously, that they are well made-up.

The outward signs of character are to be represented by “make-up,” and it is quite essential that this effect should be produced; therefore, with a slight knowledge of what is to be avoided, and what effected, the home-actor should attain to some degree of success.

“Wig-paste,” No. 2¹/₂, is usually considered the best foundation for pink complexions, and according to shade required, deeper colors can be used, such as 3, 4, &c. Thus, if being made up for the part of a pretty young girl, the first number is best; if for a middle-aged woman, No. 3; while for elderly men of choleric temperament No. 4 would be more suitable.

It must be borne in mind that the foundation of wig-paste should be carefully put on, and well smoothed before the structure or blending of colors to produce a natural appearance is commenced. Whether this is done well or badly will make all the difference to the final results.

Lining

Lining is an important part of “make-up,” by its aid the lines of the face being diminished or deepened, shadows created for sunken effects, and “high lights” produced—i.e. touching up the cheek-bones to give them prominence. By careful use of this latter branch of “make-up” the whole character of the face can be changed. High lights are produced by a lighter shade of grease paint than that used for the rest of the complexion, being placed upon the feature to be emphasized; for instance, if the actor wishes his nose to appear thinner, he will draw a straight white line from the top to the tip, enhancing the effect with a careful application of the gray paint (Fig. 1a). The cheek-bone, nose, chin, and brow are parts of the face which are made up for high lights, though if wrinkles are to be accentuated this is usually done by the addition of a “high light” effect on each side of the existing dark line (Figs. 1b and 1c).

To make cheeks appear hollow, gray-lining paint is used, the effect of emaciation being produced by the careful blending of the last-named paint with the grease paint previously put on.

Shadows, or low lights, give the effect of hollowed cheeks and sunken eyes, and instead of making features more pronounced, as is the case with a careful “high light” make-up, decrease the prominence which certain parts usually possess (Fig. 2). When making-up for a beldame, or some other character which should appear more than usually haggard, a striking effect is obtained by adding a spot of either dark-gray or brown, and blending it outwards.

The lining of the eyes requires special attention, more particularly as their appearance depends so much upon the change of the eyelids (Figs. 3 and 4); eyelashes too, when properly treated, make a vast difference to the usual expression.

When it is necessary that the eyelashes should be more pronounced, black grease paint is put on to the end of an artist’s stump, melted very slowly by being held over a candle or other flame, and so applied. Care should be taken, however, that no grease paint goes into the eye, so when melting it must not be allowed to become too soft. Black-lining grease paint is the best for eyelashes, and the amount applied depends entirely upon their natural thickness and darkness.

For darkening or lightening the eyebrows, grease paint “liners” are indispensable, and much preferable to India ink. Sometimes it is necessary to obliterate part of the eyebrow before the rest is “drawn-in,” in which case it is first of all coated with soap and then covered with the same grease paint as used for the groundwork of “make-up.” This done carefully, and toned to the same shade as the rest of face, leaves the actor free to “draw-in” any shaped eyebrow he desires. For a very thin eyebrow a toothpick can be utilized to advantage, a little melted grease paint being rubbed upon it, and the line drawn with it (Figs. 5 and 6).

For Oriental effects the obliteration of the eyebrows is essential, and fresh ones with an upward tendency can be drawn-in at will, when once the natural ones have been made to disappear.

More often than not it is necessary to increase the eyebrows, making them look thick and heavy, and if Nature has endowed the player with massive ones, it is an easy matter to comb them up the wrong way and apply a small quantity of grease-paint; but if they are naturally thin the aid of false ones must be sought. CrÊpe hair, which is an indispensable accessory to the “make-up” art, can here be brought into use, the ever-helpful “adhesia” being required as well.

The best plan is to model on a comb the eyebrow according to the shape desired; then, placing the latter in position, make it fast with the use of the adhesia, taking care that the gum is only on the edges and not on the hair of the real eyebrow.

To obtain a sinister expression, eliminate the outer edges of the eyebrows and paste a piece of crÊpe hair over the eyebrows near the nose, the Mephistophelian effect being gained in the same way, except that the outer corners should curl upwards (Figs. 7 and 8). By fixing on pieces of crÊpe hair so that they meet over the nose, a stern and even fierce expression is produced.

“Juvenile” Make-up

In making-up for the character of a juvenile, the strength of light on the platform or stage is to be taken into consideration. If a fairly strong light, the make-up must not be too deep, but the player will soon become experienced in this matter by taking the trouble to consider the effect of different lights.

Before commencing with the grease paints the face is well rubbed with cold cream or cocoa butter, and wiped with a towel, so that none of the former remains visible.

The flesh-colored paint may now be drawn across the face several times, the method of procedure being: two lines across forehead, two on each cheek, one down the nose, and several on the neck (Fig. 9). With the palms of the hands this is smoothed over carefully, and finally rubbed quite lightly with a dry towel. The foundation is thus formed, and is really the most important part of the make-up, for if not carefully done the rest will be unsatisfactory. One of the chief facts to be borne in mind is that very little paint should be used, so little as to be scarcely seen.

Rouge is next applied, red-lining paint or paste lip-rouge being used upon the cheek-bones, and carefully smoothed until it tones with the flesh on the cheeks. After an application of powder, when the face feels perfectly smooth, comes the task of lining-in, which has already been described.

The lip-rouge accentuates the lips (Figs. 10 and 11), and should it be necessary to make them of a more symmetrical appearance, this may be accomplished by extending the rouge a trifle beyond the natural outlines, though women need this little extra touch more often than men. When it is required to make the chin more prominent, a touch of dry rouge beneath the lower lip will accomplish the effect, still more being added to the cheeks if they are not quite colored enough (Fig. 12).

For juvenile darky parts, burnt cork will do instead of the grease paints.

“Middle-Age” Make-up

This is perhaps the most difficult make-up, for it is much easier to go to one extreme from another, than to make a fairly young person look like a middle-aged one (Fig. 13).

In the case of a man it is advisable to depend on the addition of whiskers and mustache, and even glasses or spectacles lend age.

A sallow paint is usually required for middle-age make-up, and it can be blended with a lighter paint for pale effects; but to produce a hearty bloom or florid complexion, the application of a little red or brown is recommended.

The mid-gray wig is also an immense aid, but failing this, a small amount of powder sifted over the hair will give a similar effect.

“Old-Age” Make-up

If the character desired to be represented is carefully studied, notice being taken of where there is a high light and where the shadows of the face lie, there should be little or no difficulty in producing a lifelike representation.

Particular notice should be taken of wrinkles and lines, and these must be carefully blended as in Fig. 14.

The next essential is the wig, either gray or white being the most useful. For the old age complexion it is better to get the grease paint for that purpose; but when the necessity for it is but seldom, an application of the sallow paint, or in the case of great emaciation, the addition of a little blue, well blended, will create quite a good effect.

Sometimes it is required that the nose shall be made larger; then the “nose putty” is called into play, carefully modeled on to the nose, and with the aid of the same grease paint as is utilized for complexion, made to correspond with the rest of the face (Figs. 15a, 15b, and 15c).

Dark shadows under the eyes can be produced by gray grease paint, but for the formation of crow’s-feet, the brown will be found the best.

The hands must receive careful attention when the face and neck are finished, and “made-up” according to character. If juvenile, they require coloring; if middle-age, a little of the sallow paint: the veins accentuated, and the flesh made to look pale for old age parts (Fig. 16).

When measuring for a wig, take the various lengths and widths as indicated by the numerals in Fig. 17.

Beards and Mustaches

The most inexpensive of these necessary adjuncts to the home entertainer’s make-up are undoubtedly those he models for himself from crÊpe hair, which can be bought in a plait and untwined as it is wanted, a coarse-toothed comb being passed through it. With a few twirls it can be made the desired shape and cut, and when wanted for a beard, opened out until it has a hollow cone-shape appearance, and placed on the chin after a thin coating of adhesia has been applied.

The same method applies to eyebrow and mustache making. When it is desired to create an unshaven, unkempt effect, pieces of crÊpe hair are cut up exceedingly fine on to a newspaper, the chin covered with adhesia and the finely-cut hair sifted evenly over the skin. These little pieces are also useful for sprinkling where the false beard meets the face, in order to take away the “abrupt” appearance that is often produced.

The Removal of Make-up

Having told how to put on make-up, a few instructions for its easy removal may not be out of place. Whilst soap and water will take off the grease paint, the simpler method is to remove it with one of the following: Cold cream, cocoa butter, or olive oil. Vaseline is to be avoided, as it will often cause a growth of hair; and for this reason when purchasing cold cream it is advisable to procure the best, for in the cheaper makes vaseline is largely employed. Pieces of cloth kept specially for the removal of “make-up” are to be recommended, one for taking the chief layer off and another of soft texture for final rubbing before the much-needed wash is resorted to.

For dispelling traces of the prepared burnt cork used for minstrels and negro burlesques, a pure vegetable soap is all that is required.