Tools of the trade
Starting out as a makeup artist can be costly. As New Image’s Candice Stafford- Bridge notes, for beginning artists and students, the choice is often between buying a $ 100 pigment palette, or eating. A lot of Kraft Dinner is consumed in the early days, she notes. And makeup artists in the film and TV industry have to be resourceful. Working conditions aren’t usually as well- supplied and well- lit as the makeup rooms at New Image. A makeup artist might have to pull off a last- minute job at night, in the woods — less than ideal conditions. Industry professionals vary in how much ( or how little) tools they bring to the set, but there are some fundamentals. In general, Q- Tips and baby wipes are among a makeup artist’s best friends, Stafford- Bridge says. And so are the following: • Alcohol- based pigment palettes — Alcohol- based pigments are transparent and can be layered without getting muddy, Stafford- Bridge says, and are waterproof and sweatproof. A complexion palette for foundation colours to correct skin pigmentation or cover tattoos is a must- have. For effects, Stafford- Bridge also recommends Zombie Palette by Skin Illustrator.
• Anti- shine gels — Gels get rid of shine on the pigment. Recommended instead of powder.
• Sponges — Stafford- Bridge likes Beauty Blenders, egg- shaped sponges that “turn foundation into an amazing, airbrush- perfect finish.”
• Eyelash curler — The New Image instructor/ industry pro likes the one made by Kevyn Aucoin. “The curve of the curler and its length mean that it gets all the eyelashes and makes the best curl,” she said.
• Brushes — Stafford- Bridge prefers Sappho Cosmetics’ crease brush for covering tattoos and doing effects with alcohol- based pigments. “They’re vegan and made from bamboo, not animal products,” she notes.
• ( Fake) blood — A makeup artist working in TV and film needs both mouth blood and thick blood, she says. The former is a liquid, running blood, for skin or on the mouth. Thick blood is used when the artist wants to do a quick gash that stays and doesn’t run.
• Adhesives — At least two, one for backup, for keeping prosthetics on. “You never know what’s going to not stick,” Stafford- Bridge said.