THE MATERIAL

When we consider the materials, we realise that the art of make-up is more or less allied to the art of the painter; although the kinship may not be of a very intimate character. It resembles in many particulars coloured statuary, with this great difference, that in the case of the actor the statue is alive.

If the student were to have a bust of himself accurately modelled by a sculptor and were to apply the various articles of make-up to it, he would get almost precisely the same effects that he would get from his own face, minus, of course, the ability to change its expression.

I have such a bust, and I find that I can do much of my experimenting upon my dumb counterpart without either its skin or temper ever resenting the torture. Though I do not think that many will care to follow my example in this particular I offer the suggestion as being of some value.

Among the men who paint pictures you rarely find two who use exactly similar materials, or work in precisely similar ways, in fact methods of work and the tools used depend largely upon individual differences of temperament. So in the following pages I trust that it may be felt that I am suggesting in a more or less stimulating way, and that I am not dogmatising.

If we again compare it with painting we shall find that we get the most valuable hints from that branch which is known as the impressionist school.

The enormous size of the proscenium, which is really only the frame of our canvas, and the distance which is ever between the spectator and the stage, demand great breadth of treatment.

I have known an actor to strive for almost the same delicacy of detail as would be found in a highly finished portrait, and although the illusion from the front of the house was not positively wrong, much of his work was never realised; in fact with one quarter the effort he could have produced a result which would have been infinitely more telling.

Doubtless many who read this book will have had a wide experience in making up, and will have cultivated preferences for one selection of materials or another. To them I submit my method and its results. To the man who comes to the subject with an absolutely unbiassed mind, I would suggest that he begin his work with a very limited range of colours, for in this way he will materially simplify the problem.

The following is a list of the grease-paints that may be purchased from any dealer in make-up:

No. 1, lightest flesh colour; 1-1/2, slightly darker; 2, pale; 2-1/2, medium; 3, slightly darker; 3-1/2, sunburnt; 4, a ruddy deep flesh colour; 5, bright yellow; 5-1/2, dark; 6, darker yellow; 7, brown; 8, Armenian bole; 9, dark sunburn; 10, brown; 11, burnt umber; 12, black; 13, reddish brown; 14, chocolate; 15, brick red; 16, dark brown; 20, white; carmine 1, 2 and 3.

Of these the colours that prove most valuable in my hands are 2-1/2, 3, 10-13, yellow, white and black, and the following lining sticks; light blue, dark blue, yellow, lake brown, and carmine 2.

I never use any one of these colours in its crude state, but by blending produce the exact shade that I deem desirable.

The palm of the left hand proves an admirable palette; its heat readily melting the paint.

A draughtsman's stub may be used for putting in the wrinkles and softening the shadows, but I have found the most suitable instrument for this work is a small modelling tool such as is used for modelling in wax. It has one end slightly curved and then brought to a knife-like edge. It is not only valuable for applying colours, but enables one to deftly finish the shaping of nose-paste.

A small quantity of nose-paste, or, what I have found work better, toupee paste, will be required. A bottle of spirit gum for applying false beards and moustaches. Crepe hair of various colours. Powders I mix for myself that I may get a tint to match any given make-up. The foundation of this is of a light pink to which I add a little Armenian bole and yellow. Powders, however, of various hues may be bought which will save the trouble of mixing. A good powder puff, a box of dry rouge, a hare's-foot, a pair of scissors and a comb. Vaseline, cold-cream, cocoa butter, or my preference, olive oil, for removing the make-up will complete the outfit.

Various elaborate make-up boxes of tin are on the market, but any small box will answer. The one that always accompanies me on my travels is an antique case of oak, and was no doubt used for generations as a receptacle for jewels. It has but one tray, which has sufficient space for the reception of the various paints. The lower part is reserved for crepe hair, powder and the other requisites.