Makeup progress for Shylock
Makeup progress for Shylock
SHYLOCK
A dignifiedfigure really, but under the lash of persecution disclosing the evil qualities of revengefulness and craft. Strong, cruel, and resentful.
The nose is built with nose-paste and carefully modelled after it is joined. In the progressive prints, Figs. 1 and 2, two views are given of it.
The groundwork is of No. 3 yellow, a little lake, brown, and 13. Before this is applied to the face, the wig is put on; but after the spreading of the groundwork it is again removed, that it may not be soiled during the subsequent stages of the make-up.
The colour for the shadows and wrinkles is formed of the groundwork with brown and lake added. The cavities of the eyes should be strengthened with this. Deep grooves are painted from the corners of the nose, a sunken appearance given to the temples, and crows' feet drawn from the eyes.
The high lights come above the wrinkles; and are placed on the most prominent parts of the forehead.
The beard, which is of a mixture of black, deep red, and grey hair, is next gummed into position, taking care that no grease paint is on any part of the face to which the gum is to be applied. (See Fig. 3.)
In Fig. 4 the blending of the beard with the cheek is shown, also the placing of half the moustache and a false eyebrow. Observe the small piece of crepe hair that is placed just under the lower lip.
The wig is again put on and carefully blended with the forehead.
A rather deep reddish powder is suitable for the make-up. The lips are coloured with carmine and lake mixed.
A mirrorof emotions. The mouthpiece of protesting souls. A creature of sensitiveness absolute. His face must express almost the entire range of the passions. Very pale, studious, of great mental strength and refinement.
Groundwork 2-1/2, a little yellow and a very small quantity of brown.
Flesh colour that should vaguely suggest ivory. A little white rubbed on to the most prominent parts of the forehead adds intellectuality to the head.
The shadows which should be of the groundwork deepened with brown are so arranged that they intensify the sensitiveness of the face. They are used under the brows to give soulfulness to the eyes and to make the forehead seem more prominent. A line is drawn round the upper part of the nostrils to give delicacy to the drawing of the nose. The darkening of the division of the upper lip and of the cleft chin makes the face seem thinner. The shadows on the temples and on the cheeks also help this illusion.
Cream-coloured powder is applied to the face and neck.
The eyebrows are carefully drawn with brown in a wide clear arch and are afterward lightly combed.
The eyelashes are strengthened by drawing a black line along the edges and this line is carried a little way out at the outer corner of the eyes. A tiny spot of carmine at the inner corner by the tear-bag lends lustre to the eye.
The lips nobly drawn in carmine give passion to the mouth.
The hair is of crisp clean curls which suggests vigour and alertness.
Hamlet when impersonated by fair men has usually been played in a fair make-up, and this example is worth following. The subtle natural peculiarities of a fair face make a dark make-up unsuitable to it andvice versâ.
For a fair make-up the same advice should be followed, leaving all the brown and nearly all the yellow out of the groundwork, and finishing with rouge. The make-up should be much brighter and the wig of flaxen.