Guide To Truama Makeup For Theatre And Film - Routledge
CH A P T ER SA M P L ERGu ide t o Tr u am a M akeu pf or Th eat r e an d Filmwww.routledge.com
Contents1. Trauma MakeupBy Daniel C TownsendFrom Foundations of Stage Makeup02. Applying Colour Theory to SpecialEffects MakeupBy Katie Middleton03. Casting the AppliancesBy Todd Debreceni0From Colour Theory for the Makeup ArtistFrom Special Makeup Effects for Stage andScreen20% Discount AvailableYou can enjoy a 20% discount across our entire range of Routledgebooks. Simply add the discount code SFX25 at the checkout.Please note: This discount code cannot be combined with any other discount or offer and is only valid on print titles purchaseddirectly from www.routledge.com. Offer ends on 31st December 2020.
CHAPTER 16TRAU M AThe term trauma encompasses a variety ofeffects. For theatrical purposes, it means a bruiseor wound on the skin. The size and severity ofthem may vary, but they can be as mild as a smallcut or as serious as a severed limb. There is noend to the trauma effects one can create, and itis easy to get carried away with stage blood andfake gore. Before exploring advanced techniques,it is important to master the basics. The standardmakeup kit should contain everything neededto achieve these special effect makeups, withthe exception of a few additional products. Thefollowing is a list of several basic effects and thesteps needed to recreate them.M A K E U P3. When did the impact occur? First comes the discussion of what causedthe bruising effect. If there is a facialbruise, then it is usually caused by anassault by another individual or a solidobject coming in contact with the face.Most things that come in contact with thebody can leave different bruises. Whatcaused the impact determines the shapeof the bruise being created. For instance,punches and kicks will make bruises alongwith ropes and hard objects. Dependingon the situation, impacts with walls andconcrete will also leave bruising. Theintensity of the impact will also change theintensity of the bruise. Second, the location of the bruise mustbe determined. Different areas of thebody will produce a different type ofbruise. Color, size, and intensity will all varydepending on the impact’s location. ForEFFECT #1: BRUISESBefore creating a bruise with makeup, severalquestions need to be answered.1. What caused the bruise?2. Where is the bruise?
134Trauma Makeupinstance, fsts make good bruises aroundthe eye areas while hard objects leavebruises and welts on the forehead. Impactsto walls and blacktop can cause bruisingon the chin and cheekbones; however,bruising seldom occurs on the feshy partof the cheeks. When it comes to the neck,the most common theatrical bruise wouldbe a strangulation caused by a hand orrope. The same holds true for arm bruising.These forms of bruising will contain moreviolets and blues in the early stages, whileblack eyes will have more pockets of red.Answering this second question producesthe majority of information about thistrauma effect. Last, but equally as important, is knowingwhen the impact occurred. This can bethe trickiest question to answer and mayrequire research to ascertain. Traumaeffects are special because they all havea life-cycle. A life-cycle, in this context,means they have a moment of creationwhere the wound is fresh, then as timegoes by, the process of healing occurs.Eventually most trauma effects canheal to a fnal point, and that would bethe end of the life-cycle. For a bruise,this is very important. At impact, andusually a day or two after, bruises aretheir most vibrant shade. On the face,arms, and neck, bruises are often purpleand blue with deep maroon under theskin signifying blood trapped beneaththe surface. Over time, as bruises heal,the purple and blue fades giving way tobrown and sallow yellows. The laststages of a bruise are slightly yellow witha tinge of brown before they vanishcompletely. Bruises are very interesting with no twoever alike. While applying bruises to theskin, be sure to make them asymmetricalwith pockets of intensity. Following arethree major stages of bruising fromthe moment of impact to being almosthealed. The following directions are thesame no matter your skin tone. The onlydifference for darker skin tones would beusing a deep golden tone as a substitutefor the yellow cream mentioned here.Also remember that no matter the effect,powder when it is fnished.A. Fresh bruises contain the most intensecolors. Using a sponge or fnger, applya thin layer of yellow cream to thedesired bruise area. When focusing ona black eye, good areas to apply are onthe outer corner below the eyebrowand under the eyelid. Also addingcolor in the lacrimal area will makethe bruise look convincing as a placeblood naturally pools. Refrain fromlaying color all the way around the eye.This can look raccoon-like and destroythe effect. Now dab a light to mediumlayer of violet cream mixed with navycream. Be creative with this applicationand make the bruise interesting. Afterthese colors are down, apply pocketsof maroon in the lacrimal area ora small amount on the outer eye.Concentrate intensity in spots so the
Trauma Makeup135FIGURE 16.1 Fresh bruise.Credit: Zeek Creativewound looks uneven and asymmetrical.Try using the stipple sponge; dabbingpockets of violet and maroon onto thewound (see Figure 16.1).B. Mid-range bruises are in fux betweenbold fresh colors and the subtlecolors of healing. During this periodyellow and brown will appear, andmaroons will vanish. Start by applyinga layer of yellow cream makeup overthe area, varying the location just asbefore. Keep the color restrainedto the outer and inner eye areas forbest effect. Use brown cream in lightspots over the area. Brown tonesappear as the maroons and navycolors disappear. They are never darkbut subtle shadows of drying blood.Now add light areas of pale violet ornavy amongst the brown and yellowmakeup. Apply it in different intensities,keeping the original shape. Do notsaturate the bruise but keep it light(see Figure 16.2).C. Healing bruises contain soft colors.A bruise toward the end of the healingprocess can be light with only fadingyellows and browns to denote itsexistence. When creating an old bruiseon stage; however, it still must be boldto be seen by the audience. Start byapplying a heavy layer of yellow creammakeup using a sponge or fnger. Onceapplied, use contour color to createdimension and depth to the fadingwound. Vary the spots to make themlook natural. The brown cream willnever be heavily applied, but it shouldblend well with the yellow to create arealistic fading bruise (see Figure 16.3).
136Trauma MakeupFIGURE 16.2 Mid-rangebruise.Credit: Zeek CreativeFIGURE 16.3 Healing bruise.Credit: Zeek CreativeEFFECT #2: CUTS AND ABRASIONSThese effects encompass lacerations, cuts,abrasions, and any other wound where the skinis sliced open using a sharp instrument. Thenice thing about abrasions is that they can goanywhere on the body, and the same rules will
Trauma Makeupstill apply. The key to making cuts and abrasionsbelievable is inconsistency. If cuts are toostraight, they look fake. When determining thebest place to apply them, consider surfaces thatare curved – the nose, cheeks, eyebrows or lips.Follow these steps to achieve simple yeteffective stage effects.137Step 4: Blending Contour on wounds is still important, andnow you can start adding realism. Using atiny brush, blend small areas of the blackline away from the interior of the cut.Don’t do it all the way around but vary theblending. Remember, the key to realism isinconsistency.Step 1: Irritation color Skin, when irritated, turns pink or red. Thisis a good frst color to lay down. Apply alight coat of pink cream makeup to the areawhere the cut should be. It is fne to spreadit out from the area just a bit, but do notoverdo it.Step 5: Highlight Wherever there is shadow, highlights alsoexist. Apply a small amount of highlight tosmall outside edges of the black line. Thismakes it appear like the skin raises at theedges of the laceration creating dimension(see Figure 16.4).Step 2: Shadow color Stage cuts should have a bold outline, so theycan be viewed by the audience. Using a sharp,black eyeliner pencil or a thin brush with blackor dark brown makeup, trace the shape ofthe cut. Even if it is supposed to be a straightcut, the edges should be jagged to create amore natural look. When drawing the cut,allow a thin space in the middle. The blacknot only outlines the abrasion but will doubleas the shadow tone.Step 6: Blood If the intent is to create a fresh cut, addingblood will complete the effect. With a smallbrush, apply spots of blood to the interiorof the wound. For a newly created wound,consider what path the blood takes as itdrips from the cut. Varying this path createsanother layer of realism to the basic traumaeffect.Step 3: Red color The center of the black lines is where thetissue is exposed. Apply a blood red colorto the inside of the laceration. Keep itconcentrated only to the inside of the cut.EFFECT #3: SCARSScars are simple to create and very effective nomatter the skin tone. The most effective scars areold lacerations and cuts that have healed over
138Trauma MakeupFIGURE 16.4 Completed cut.Credit: Zeek Creativetime. Before getting started, know what createdthe initial wound and how long it took to heal.Scars can be any shape, just remember the rulesfor highlight and shadow. The intensity of thecolors will vary depending on the size of theperformance space. For lighter skin tones, use a pink cream toneand place it in a line where you want the scar.Next, apply a broken soft line of highlightcolor. If you make the line too uniform, it willnot look natural. Now use a thin brush toadd a light application of contour color underthe soft highlight line. This will give the scardimension and make the skin appear slightlyraised (see Figure 16.5). For darker skin tones, apply a soft line ofcontour color in a broken line. Scars deepenin color on darker skin tones, so the colorshould be noticeable from the audience.Consider using a thin line of black or ebonyinside the contour line in spots to denotedepth. Next, take your highlight color andplace that underneath the contour color insoft spots. You can even apply highlight oneither side of the contour stripe to give theappearance of raised skin on either side ofthe indention (see Figure 16.6).
Trauma Makeup139FIGURE 16.5 Scar for lightcomplexions.Credit: Zeek CreativeFIGURE 16.6 Scar for darkcomplexions.Credit: Zeek CreativeEFFECT #4: BURNSSome of the best trauma effects contain threedimensional elements. Burns are a great frst-stepin exploring this three-dimensional quality. Forthis application, powdered, unfavored gelatincan be used to create dynamic burns in a shortamount of time. Generic brand gelatin can befound at many grocery stores, or pectin – a vegansubstitute – may be used as well. Both are sold insmall boxes with individual packets inside. For this
140Trauma Makeupwell. This will transition the gelatin burn tothe skin hiding any seam there may have been(see Figure 16.7).makeup, a few small packets will be enough. Besure to have a small cup to mix the product and astick to stir. Mimic skin irritation from a burn by applyinga light coat of pink cream makeup over thearea. Using a sponge or brush, apply the colorto low and mid-range areas. Next, apply contour color or maroon to lowareas. This helps to emphasize the depthof the burnt fesh. Once the contour coloris applied, add soft dabs of highlight to thepeaks of the gelatin. How fresh the burn isdetermines how the colors will be, so makesure to know the life-cycle of the wound.Step 1: Mix the gelatin Empty 1 packet of gelatin into a smallpaper cup. Add one tablespoon water intothe gelatin and mix with a small woodenstick or the end of a makeup brush. Watertemperature affects how quickly the gelatinsolidifes. Using cold water will make thegelatin solidify faster while warm water willmake the gelatin solidify slower. The samecan be said with the amount of water used.Less water used will make the gelatin lumpier;more water used makes the gelatin smoother.Practice mixing the product before the fnalapplication.Step 4: Detail the wound Step 2: Apply the gelatin Use the stir stick to apply the gelatin to theskin where the effect should be. Do thisquickly before it completely solidifes, or theproduct will not stick to the surface. Makesure the burn area is bumpy and rough. Themore texture created the stronger the threedimensional effect. Consider using multipleapplications of gelatin for a severe burn.Step 3: Add makeup Once the gelatin has solidifed and cooled,makeup can be applied. When applyingmakeup to the wound, add it to the skin asNow that the basic coloring is in place, detailscan be added depending on the freshness ofthe wound. Apply a deep red to parts of thelowest areas. These may overlap or blend withthe contour color, but that is fne. The woundshould appear as if bright fesh is exposed.Once this is complete, dab the stipplesponge into black or dark brown creammakeup. Apply this color sporadically as it willrepresent the charring of skin.Step 5: Apply blood Adding stage blood is the cherry-on-top.Dip the stipple sponge or makeup brush ina bit of stage blood to give the area a wetsmattering of blood. If the burn is fresh, thenthis is the essential fnal step (see Figure 16.8).
Trauma MakeupFIGURE 16.7 Cooleduncolored gelatin.Credit: Zeek CreativeFIGURE 16.8 Completed burn application.Credit: Zeek Creative141
142Trauma MakeupEFFECT #5: POPPED PUSTULES ANDPEELING SKINCreating peeling skin, popped boils, and pustulescan transform even the most simplistic makeupinto a grotesque creation. These two effectsutilize liquid latex and follow similar instructionfor application. The following outlines thesetechniques together and shows how they vary.Please note, if there is a latex allergy then thiseffect should be avoided.Step 1: Liquid latex Using a brush, apply a moderate layer of latexover the affected area. It will take severallayers of latex, but if using thick layers, thenonly a couple of coats will do. Now use ahairdryer, on the cool setting, and direct it onthe wet latex to decrease drying time. Thiscan take three to six minutes, or until the frstlayer dries completely. After the initial layer hasdried, apply a second layer of liquid latex overthe frst. Repeat the drying process. If there istime to do a third layer of latex, thenfollow these same steps. The goal is to makethe latex thick enough to manipulate. Also, payattention to the edges since they should bethin and blend into the skin (see Figure 16.9).FIGURE 16.9 Applying liquid latex.Credit: Zeek Creativeunder the foundation color. Powder over this,then apply the foundation and powder.Step 3: Cutting the latex Step 2: Add Undertone Apply a layer of burnt red or dark pink creamto the dried latex. Allow the color to blendover on the skin to help conceal the transitionfrom latex to skin. Just like with blocking outeyebrows, the red tone adds a natural fushAt this point determine which effect will becreated, then follow the steps listed here (seeFigure 16.10).A. Peeling skin: Using tweezers orfngernails, pick at a small point in themiddle of the latex. Now pull the latexaway from the skin and use a small pair
Trauma MakeupFIGURE 16.10 Cutting technique for dried latex.FIGURE 16.11 Uncolored peeling skin effect.Credit: Zeek CreativeCredit: Zeek Creativelet the latex relax. The result should bea rounded hole in the latex exposingthe skin underneath. Do the same effectto other areas of the skin and the pockmarks will seem inconsistent and a naturalprogression of an infection. If the makeupcalls for multiple pustules, vary the size ofeach one (see Figure 16.12).of scissors to cut the latex and allow it tobunch or hang. Depending on how seriousthe wound is, cut and pull whatever bitsshould be shredded. This will now simulatemangled skin hanging from muscle tissue(see Figure 16.11).B. Pustules: Pustules can be popped boilsor other exposed skin diseases. Utilizingthe same technique as with peelingskin, pull up a portion of the latex withtweezers or fngernails until there is asection separated from the skin. Nowmake a clean snip with the scissors, then143Step 4: Skin coloration Now that the under-skin is exposed, it istime to apply the color. Crimson or blood
144Trauma Makeupred cream makeups are good colors topaint the under-skin. Using a brush, coverthe area inside the holes and underneaththe latex. Next use dark brown or black tocolor the under-edge right at the jagged cutof the latex. This adds a shadow and visuallypulls the latex wound away from the brightred fesh underneath. Blend the dark colorinto the red to add a natural shadow effect.Consider adding a touch of highlight tothe outer rim of the latex as another wayto visually pull the latex from the skin andincrease the three-dimensional quality ofthe effect (see Figures 16.13 and 16.14).Step 5: Blood FIGURE 16.12 Uncolored pustule effect.Credit: Zeek CreativeTo add a freshness to the wound, apply asmall amount of stage blood. Using a brush ora stipple sponge, dab blood into the wound.Blood will make the wound look wet andfresh, completing this gory effect.FIGURE 16.13 Completedpeeling skin effect.Credit: Zeek Creative
Trauma MakeupFIGURE 16.14 Completedpopped pustule effect.Credit: Zeek CreativeEFFECT #6: EXTRUSIONSBoils, cysts, large moles, pox, and skin lesions allfall under the category of extrusions. Extrusionsare wounds that tend to be isolated and enlarged.Nose putty or wax can be used to achieve thesebasic, yet convincing effects. These products comein several makeup kit versions, but they can alsobe purchased at most local costume supply storesor ordered online. A cotton ball and a smallamount of spirit gum – a theatrical adhesive alsofound in most makeup kits – are also necessary tocomplete this effect.Step 1: Applying spirit gum Determine the location of the protrusion andapply a small amount of spirit gum to the skin.Pull a small amount of cotton from the cottonball and stick it onto the spirit gum. This smallamount will help the putty grip the skin frmlywithout sliding off (see Figure 16.15).FIGURE 16.15 Cotton attached with spirit gum.Credit: Zeek Creative145
146Trauma Makeupsmooth and thin to the skin; however, usingtoo much gel will cause the putty to run (seeFigure 16.16).Step 2: Preparing putty Roll a small amount of putty or wax betweenthe palms of the hands. This process warmsthe product and makes it pliable. By the timea small ball of putty has formed, the spirit gumand cotton should be dry and ready to go.Step 4: Using latex Step 3: Molding the putty Mold the putty onto the cotton whileblending the edges onto the skin. Dependingon the shape for the wound, there may be alarge amount or small amount of putty. Whileblending, try to make the wax as smooth andseamless as possible. To help smooth the wax,use a very small amount of hair gel. Using gelis a great way to get the putty edges veryCover the putty in a single, light layer of liquidlatex and allow it to dry. The latex gives themakeup a surface to adhere.Step 5: Applying undertone Apply a layer of burnt red or orangeundertone makeup frst. This color isessential as it adds natural warmth to thepiece. Powder the undertone color on theputty.FIGURE 16.16 Shaped puttyfor extrusions.Credit: Zeek Creative
Trauma Makeup147FIGURE 16.17 Completedextrusions.Credit: Zeek CreativeStep 6: Finishing the wound Now apply whatever colors necessary tomake the wound convincing. Any of thefollowing hues would be great to color thepiece: foundation color, yellows, browns,reds, and purples. Be sure to use highlightand shadow where appropriate to make theextrusion stand out (see Figure 16.17).
5APPLYING COLORTHEORY TO SPECIALEFFECTS MAKE-UP
COLORS IN THE BODYAs special effects make-up artists, we’re oftengiven the task of creating a convincing illusion.Whether you’re mimicking a simple black eye orfabricating a complex sea monster, it’s importantto research relative things in nature in order toachieve a believable make-up design. Researchingnature can also be a great way to drawinspiration during the preparation process.90One of the more common requests for televisionand film is to create simple cuts, bruises, andwounds. It’s important to understand what theseinjuries actually look like before attempting toproduce them. Reference photos and thoroughresearch are necessary if your goal is realism.The Circulatory SystemWhen blood pumps from your heart, it movesthrough the three types of blood vessels:arteries, veins, and capillaries.BloodThe red hue in our blood results from themixture of iron and oxygen. The more oxygenthat is present in blood, the brighter thered. Blood makes its journey by travelling fromthe heart through arteries, and then moves backtoward the heart through the veins.Arterial blood contains more oxygen becauseit has travelled through the lungs after leaving theheart. By the time the blood reaches the veins, itcontains less oxygen. Therefore, the arterial bloodis brighter than the deeper-colored blood thatflows through the veins.However, this doesn’t explain why we see veinsas blue or blue-green. Veins can only be seenthrough the skin, and the individual wavelengthsof blue and red light penetrate the skindifferently. The thicker areas of skin onlyallow blue wavelengths to pass through,so we perceive veins as blue when thewavelengths are reflected back to oureyes. This explains why veins seem to vary incolor, depending on the individual’s undertone.For example, the blue wavelength underneath ayellow undertone would give the appearance ofblue-green veins. This also explains why peoplehave blue discoloration under their eyes. Theskin is much thinner in the area surrounding theeyes (about 1/4 the thickness of the rest of yourbody), which allows more light to pass through,causing discoloration and blood vessels to bemore visible.Arterial Blood—Brighter red, more oxygen(moves from the heart)Venous Blood—Darker red, less oxygen(moves to the heart, closer to the skin)Blood moves from the arteries and flows tothe capillaries, which distribute oxygen to thedifferent tissues.OUR LIPS AND CHEEKS APPEARREDDER THAN OTHER PARTS OFOUR FACE, BECAUSE THEY ARE FULLOF CAPILLARIES.Original Image byALEXILUSMEDICA/ SHUTTERSTOCK.com. Edited byauthor.FIGURE 5-1When blood leaves the body, it begins to dryand release all of its oxygen, which causes it tobecome an even darker brown-red. Many times,if a character is wounded in a story, you may see
91FIGURE 5-2THE CIRCULATORY SYSTEM.
different stages of healing. It’s important to observehow colors change over time as wounds heal inorder to replicate them accurately and consistently.Also, notice how the area around an injury canbecome red, due to irritation and increasedblood flow to the wound. Recreating thisirritation can help authenticate your effect. Lookat the person’s natural cheek coloring or anotherflushed area of the skin. Try to match thiscolor and use it to surround any areas ofdamaged skin.92Photography by ThamKC, schankz, PakeneeKittipinyowat/ Shutterstock.com. Edited by author.FIGURE 5-5Original Image by Saivann, ratsadapongrittinone/ Shutterstock.com. Edited by author.When shopping for fake blood, you’ll notice thatit comes in a variety of colors ranging from brightreds to dark chocolate colors. Some appearmore orange, and some are more pink. Be sureto consider where in the body the blood iscoming from, as well as the lighting and setting ofthe story. A bright red blood may show up wellin a very dimly lit set, but appear too bright andfake in the daylight.FIGURE 5-3FIGURE 5-4BLOOD PASTES IN A DRIED BROWNRED, YELLOW-RED, AND BRIGHT RED. Fleet StreetBlood Pastes. Owned, developed and maintained byKenny Myers/CMI, Manufactured by PPI.
ALCOHOL-BASED BLOOD COLORS. Skin Illustrator Bloody Five Palette. Owned, developed andmaintained by Kenny Myers/CMI, Manufactured by PPI.FIGURE 5-693FIGURE 5-7Original Image by logika600/ Shutterstock.com. Edited by author.
BurnsSkin tissue can be damaged from different types ofburns, for example, fire, hot liquids, chemical burns,and electrical burns. The skin can turn red, pink, andyellow, and blister or peel when it’s healing. Severeburns can even turn the skin black or white. It’simportant to find reference pictures of the severityand type of burn you are trying to recreate beforeyou start your make-up application.94First-Degree Burn / Superficial Burn—Reddened skin without blistering.Second-Degree Burn / PartialThickness Burn—Reddened skin withblisters.Third-Degree Burn / Full ThicknessBurn—Skin becomes white and waxy. Skinmay be charred dark brown or black. A fullthickness burn can also be categorized asa fourth-degree burn when it affects themuscles and even bones.When recreating burns with make-up, a goodplace to start is to mix an intense bright red withthe person’s natural blush color. Usually, the resultis similar to the color that is present at the siteof the burn. Then, you can adjust your mixtureby adding deeper blood reds and charred colorswhere appropriate.SunburnA sunburn is a type of radiation burn thatcan occur when a person is overly exposedto ultraviolet rays from the sun. The skin canturn very red and even blister, depending onthe skin type and the amount of sun exposure.The blood flow is increased to heal the affectedarea, which explains the warmth and rednessthat occurs.Sometimes adding a touch of red make-up onthe nose, cheeks, and top of the forehead can beeffective if you’re recreating the appearance thatsomeone has been in the sun all day.FIGURE 5-8Suzanne Tucker/ Shutterstock.com.BruisesWhen you’re injured and a contusion (bruise)appears, it means the small capillaries haveburst, and blood becomes trapped underthe skin. As the wound heals and the bloodbreaks down, the colors change. This explainswhy bruises appear in so many differentcolors.Bruises can form quickly when the injuries areclose to the skin (typically with minor injuries),because the blood travels faster to the surface.These colors can even be noticeable within a fewminutes.When the injury is more substantial (like asprained ankle), the bleeding is much deeperand takes longer to rise to the skin’s surface.Sometimes, the color won’t be very apparentfor days.Bruises go through a progression of colors asthey heal. When working in television or film,many times a character will develop a black eyeor a bruise that heals throughout the story line.It’s important to know how these colors mayshift so that your effect is believable once thescenes are edited together.
Bright RedBruises usually start as red spots, due to the freshblood that has risen to the surface of the skin.The blood is still full of oxygen, which makes itappear brighter.Dark RedWhen the blood in a bruise begins to loseoxygen, it darkens. The iron in the blood breaksthe bruise down, creating dark reds and darkerpurples.FIGURE 5-9Lukiyanova Natalia frenta/ Shutterstock.com.Dark Purple/BlueWhen there is little to no oxygen left in theblood, the bruise becomes dark purple or blue.Bruises also appear darkest when they are deepunder the skin. They can even look black wherethe purple is most concentrated.GreenGreen appears around the bruise when thehemoglobin (protein in the blood whichtransports oxygen) begins to break down. Duringthis process, biliverdin (a bile pigment) isformed, which is green in color.FIGURE 5-10FIGURE 5-11Patcharapa/ Shutterstock.com.Yellow/BrownYellow and brown appear around a bruise whenbilirubin is present. Bilirubin is a yellow-brownsubstance, and it is created as red blood cells arebroken down while the body is clearing awayblood from a bruise. Bilirubin is usually visibleduring a bruise’s final healing stage.A black eye is a form of a contusion. Theblood travels and pools around the eye and ismore apparent because the skin is much thinner.A black eye doesn’t necessarily form becauseof trauma directly to the eye. Many times theblood can pool underneath the eyes when aninjury has occurred to a surrounding area or tothe nose.95
before beginning your make-up application. Tryto break up your colors (don’t use solid strokes),so the camera reads them more naturally.Also, be selective with your reference photos,because sometimes even a real photo of asolid black eye can look fake when replicatedif the color pattern is too solid or appears in adistracting shape.FIGURE 5-12 A REAL BLACK EYE.Dimedrol68/ Shutterstock.com96When choosing the correct colors to replicateyour bruising effect, make sure to test them onthe skin. Often, make-up will appear much darkerin the container than it does on the skin, andcan vary depending on the skin tone. Pay closeattention to reference photos and color patternsScarsMost likely you’ve had a scar, and you may havenoticed the progression of color changes throughthe stages of healing. Typically, when the skin isbroken, blood vessels are damaged, and the initialcolor of the scar becomes red or red-purple dueto increased blood flow to the area.FIGURE 5-14 Credit: Photographs by Patcharapa, JoeThongsan/ Shutterstock.com. Edited by author.Over time, the darker reds will fade and canappear more pink. Sometimes, the melaninproducing melanocyte cells (pigment-producingcells) are damaged, so the scar never returnsto the natural color of the skin. This is whymany scars can appear lighter or white overtime. Sometimes too much melanin can beproduced during the healing stage, which resultsin hyperpigmentation and darker brown areas.The skin repairs itself quickly, but scars may fadeand change in color or texture for one or twoyears as they heal. Sun exposure can also affectthe color of a scar while it’s healing, because it canprevent fading.FIGURE 5-13 SWOLLEN BLACK EYE MAKE-UP ONACTOR DANIEL HENSHALL. Make-up and prostheticsby the author.Scars come in a variety of colors, shapes
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