How to do hollywood makeup : Eye make up remover for sensitive eyes

How To Do Hollywood Makeup

how to do hollywood makeup
  • a flashy vulgar tone or atmosphere believed to be characteristic of the American film industry; "some people in publishing think of theirs as a glamorous medium so they copy the glitter of Hollywood"
  • A district in Los Angeles, the principal center of the US movie industry
  • the film industry of the United States
  • flashy and vulgar; "young white women dressed Hollywood style"; "Hollywood philandering"
  • A resort city in southeastern Florida, north of Miami, on the Atlantic Ocean; pop. 139,357
  • The US movie industry and the lifestyles of the people associated with it
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  • Providing detailed and practical advice
  • (How To’s) Multi-Speed Animations
  • A how-to or a how to is an informal, often short, description of how to accomplish some specific task. A how-to is usually meant to help non-experts, may leave out details that are only important to experts, and may also be greatly simplified from an overall discussion of the topic.
  • Practical advice on a particular subject; that gives advice or instruction on a particular topic
  • constitution: the way in which someone or something is composed
  • The combination of qualities that form a person's temperament
  • cosmetics applied to the face to improve or change your appearance
  • an event that is substituted for a previously cancelled event; "he missed the test and had to take a makeup"; "the two teams played a makeup one week later"
  • Cosmetics such as lipstick or powder applied to the face, used to enhance or alter the appearance
  • The composition or constitution of something
how to do hollywood makeup - Men, Makeup
Men, Makeup & Monsters: Hollywood's Masters of Illusion and FX
Men, Makeup & Monsters: Hollywood's Masters of Illusion and FX
Cinema is illusion, and in this book you'll find profiles of twelve masters of screen magic, the best you can find in Hollywood, including:

-Dick Smith, a living legend whose work has graced The Godfather, The Hunger, and many other films

-Stan Winston, the man behind Terminator 2 and Aliens

-Tom Savini, whose work for George A. Romero's "Living Dead" movies made him a leader in the milieu of splatter effects

-Rick Baker, whose apes have conquered the screen in Greystoke, Congo, and Gorillas in the Mist

These masters and eight other specialists-including today's hottest talents, such as Bob (Hellraiser), Keen, Kevin (Child's Play) Yagher, and Tony (Addams Family Values) Gardner-offer details looks at the art and craft of movie makeup.

From foam latex to complicated puppetry, it's all here in this essential handbook. With many rare and illuminating photos-including eight pages in color-this book is invaluable for anyone interested in learning the craft of movie makeup and fascinating reading for anyone who ever wondered, How did they do that?

For as long as they've been in existence, horror and sci-fi movies have relied on special effects and makeup to make the unreal seem real. In Men, Makeup, and Monsters: Hollywood's Masters of Illusion and FX, Fangoria editor Anthony Timpone presents profiles a dozen of today's most brilliant practitioners of the art and science of effects. Artists such as Stan Winston, Rick Baker, and Dick Smith have made everything from aliens to dinosaurs to zombies come alive on the screen, employing a staggering variety of techniques. In their conversations with Timpone, Winston and company explain how they accomplished dozens of their most notable effects, which involve the use of makeup, appliances, puppetry, robotics, CGI, animatronics, and more. Abundant photos (including a color section) show both finished products and works in progress.
Men, Makeup, and Monsters is aimed not just at curious movie fans, but also at prospective practitioners of the trade. Timpone's introduction includes straightforward explanations of basic industry terminology and procedures, and gives a realistic picture of what it takes to break into this increasingly competitive business. Appendices include a glossary and a directory of makeup schools.
Movie fans who routinely leave the theater asking, "How did they do that?" will find this detailed look behind the illusions absorbing, and will come away with as much admiration for the artists as for the effects they create. --Mary V. Burke

75% (5)
Frankenstein's 'Monster'
Frankenstein's 'Monster'
*** Please Read Below to Get a Better Understanding Of The Make-up*** As everyone knows by now, there have been countless Hollywood creations, BBC productions and various other independent films based off of Mary Shelley's Frankenstein, but none of them have stayed true to the book, as they have all drifted away from the book and landed in some distant land, in some other pasture where they attempted to build their own creation, their own story by twisting it and basically completely ignoring the true 'story' behind this original, gothic and tragic tale. Not only were these films quite swathed in their own splendor, but the make-up for the "monsters" of these films which were to depict Frankenstein's creation were also interweaved and ignored in regards to Mary Shelley's descriptions (but don't get me wrong, I enjoy them, but only dream of a director creating the "definitive version" of Frankenstein). The make-up here, as you see, was hand-made by my uncle over a semi-lengthy period of time using various ingredients from various sources (Dick Smith's Do It Yourself Monster Make-up book being the most popular) as well as experimenting with various other "thought-up" ways of creating hand-created make-up conglomerations to create the hideous creature that Mary Shelley described in her book over 190 years ago. The make-up took about 3 hours to apply (including the wig) of which was carefully examined. Then came the lighting of which was used in many different ways during the threaded spools of this project. This particular "portrait" was the strongest of them all, but there are others that were interesting as well of which may or may not be uploaded in the future. Further-on, below I have provided two passages from Mary's descriptions from the book, of which I have also highlighted the most "important" portions... Chapter 5 How can I describe my emotions at this catastrophe, or how delineate the wretch whom with such infinite pains and care I had endeavoured to form? His limbs were in proportion, and I had selected his features as beautiful. Beautiful!--Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shrivelled complexion and straight black lips. Chapter 24, September 12th --- Over him hung a form which I cannot find words to describe–gigantic in stature, yet uncouth and distorted in its proportions. As he hung over the coffin, his face was concealed by long locks of ragged hair; but one vast hand was extended, in colour and apparent texture like that of a mummy. *** All-in-all, this is basically our version of how the monster would have appeared had the descriptions from the book been followed properly.
Billy Beck
Billy Beck
In the Forties he was a clown at the celebrated Cirque Medrano in Paris and shared the stage with Buster Keaton, among others. Born in 1920 in Philadelphia, he was an artist and cartoonist, and started sketching the sad clown epitomized by Emmett Kelly when he was just a kid. He went with the army to France during WWII and stayed there, becoming a clown first on the street before he graduated to the stage. He moved to Hollywood in 1960, got a little house in Silverlake, and became a TV and film actor. He was in "Irma LaDouce" and on many, many TV shows. I met him a few weeks back thanks to my dear friend Amy O'Neill, who invited me to a Moose Lodge event in which Billy showed slides and did a little vaudeville routine. I had hoped he would wear his clown makeup, and was a little sad he didn't that night. So I asked him to do a photo shoot, and thanks to both Amy and God and other angels who might be working on my behalf, he said yes. Today I met him at his home, up a long steep hill on Robinson Street in Silverlake, just east of Hollywood. He kindly consented to put on his tramp make-up and costume for me today for a photo shoot - this was the first time he's become the tramp in about 46 years. We took photos inside his house- which contained thousands of books, paintings he's painted and photographs he shot - some beautiful nudes - and outside in his yard and down on the street. This is a prop violin he got in Paris, and which has a little hinge that opens to the body, out of which he'd pull sheet music as a gag. "After telling you I would do this," he told me in his overgrown backyard today after we'd been shooting for almost an hour, and I had about 300 shots of him in my camera, "I kind of regretted it -- I thought about how long it takes to put on the make-up and take it off after - but, you know, I've really enjoyed this. This has been fun. More fun than acting."

how to do hollywood makeup
how to do hollywood makeup
Secrets of Hollywood Special Effects
Whether you are a working professional, a performance student or just interested in the techniques behind the effects, Secrets of Hollywood Special Effects provides the insights you've been looking for. This text is the comprehensive guide to special effects.

Many different kinds of effects are covered, including chemicals, pyrotechnics, weapons, levitation and weather. Written by a recognized expert in the field, this book contains over 200 illustrations and diagrams providing in depth coverage of every detail. Case studies and a "behind the scenes" look at the 'The Fisher King' are included.

Perfect for the professional or for the performance student.
Covers a wide variety of effects and techniques.
Numerous case studies and illustrations are included.