10. Airbrush
Airbrush makeup is a tool in creating certain looks, especially a flawless finish to the skin. Airbrush makeup has also found a niche in the retail cosmetic world. It is used in all areas of makeup: beauty, body makeup, body art, tattoo cover, bruising, effects, and fantasy. Airbrush is used in all media—print, film, television, and theatre—and is a mainstay in HD and HDTV. The airbrush machine is a tool that is going to be a personal preference for the artist and the actor/talent you are working with. In some situations, or in makeup design, you will have to airbrush to create the look that is needed. In other situations, the department head will require you to airbrush. You will be at an extreme disadvantage if you do not learn how to airbrush and care for the equipment.
What is an airbrush? An airbrush is a small, air-operated tool that sprays various media, including ink and dye, but most often paint, by a process of atomization. An airbrush works by passing a stream of fast-moving (compressed) air through a venturi, which creates a local reduction in air pressure (suction) that allows paint to be pulled up from an interconnected reservoir at normal atmospheric pressure. The operator controls the amount of paint by using a trigger that opens a fine tapered needle.
Understanding Your Airbrush
By Badger
Airbrushes have three usual characteristics:
1. Action performed by the user triggering the paint flow.
2. The mechanism for feeding the paint into the airbrush.
3. The point in which the pressure (PSI) and air mix. (PSI means measurement of air pressure, i.e., pounds per square inch.)
There are two different ways that an airbrush mixes air with paint, allowing you to airbrush:
Internal Mix: The paint and the air mix together inside the head assembly to produce a thoroughly atomized fine-dot spray pattern.
External Mix: Indicates that air and paint mix outside the airbrush. Air and paint come together outside the head, or fluid assembly. External-mix airbrushes produce a larger-dot spray pattern than internal-mix airbrushes.
Airbrush Triggers
Single Action: Refers to airbrushes on which the trigger controls only the airflow. When the trigger is depressed, a preset amount of fluid is sprayed. The amount of fluid is regulated by turning the needle adjustment screw at the back of the handle, or, in the case of an external-mix airbrush, by turning the fluid cap on the paint tip at the front of the airbrush.
Dual Action: Refers to airbrushes on which the trigger controls both air and color (down for air, back for color). This simple maneuver allows the artist to change the width of the line, the range of value, and the opacity of paint without stopping hand motion.
Feeds
Gravity Feed: Refers to airbrushes with top-mounted color cups in which gravity draws paint into the airbrush. Less air pressure is required, enabling slower hand movement, which creates excellent control for fine detail.
Bottom Feed: Refers to airbrushes on which paint enters through a siphon tube or color cup attached to the bottom of the airbrush. Removable jars or various-sized color cups can be connected to and utilized with bottom-feed airbrushes. This configuration is generally more versatile and enables the user to change colors quickly. This is important when working with several colors at once. This enables the artist to move quickly when changing colors, as well as for storing colors during use.
Side Feed: Refers to airbrushes on which a small color cup fits into the side of the airbrush. The side-feed color cup rotates, enabling the user to work on either a horizontal or vertical surface. The side-feed configuration also permits the user to achieve fine detail without the possible sight obstruction of a top-mounted color cup.
Hybrid Airbrush: Airbrushes that have a combination of gravity and bottom feed.
Airbrushes
Badger Model 100 G: Gravity-feed airbrush with 
-ounce color cup (Figure 10.1).
-ounce color cup (Figure 10.1).
Badger Model 100MU: Airbrush with ⅓-ounce color cup and makeup-specific head assembly (Figure 10.2).
Badger 360 Universal: Airbrush is capable of performing in a gravity-feed as well as a bottom-feed mode (Figure 10.3).
Badger Model Omni 5000: Gravity-feed airbrush with ⅛-ounce color cup (Figure 10.4).
Paasche VJR#2: Gravity feed, double action, internal mix. Airbrush used to create a wider range of tinting, shading, and details. Color cup is on top for easy color changes. Good for both right- and left-handed users (Figure 10.5).
Paasche H#3 Single Action: External mix airbrush.
Paasche Talon Double: Double-action, gravity-feed airbrush (Figure 10.6).
Iwata HP-C Plus: Large gravity-feed cup with a large needle-nozzle configuration. Fine-spray output, and entire range of stippling effects. Airbrush has a short paint passageway.
Iwata HP-CH: Designed for artists who need control for detail work. Airbrush uses new Micro air-control-valve technology.
Iwata HP-CS: Gravity feed with 0.35-millimeter needle and nozzle combination for fine-detail spraying. Generous-sized cup and funnel shape.
Iwata HP-CR: Gravity feed designed for quick change of custom-mixed colors. Internal-mix airbrush, ergonomic handle design, fine-detail work, and easier spraying.
Eye shadow is best applied via an airbrush with a very fine needle/ nozzle ratio like the Iwata High Performance HP-B, which is 0.2 millimeter. Although much too light to apply foundation, it gives you the ability to keep your colors focused. Fine-needle/nozzles are popular for lining eyes, and with effects artists for veining. An appropriate needle/nozzle range for most airbrush makeup, both face and body, is 8 millimeters + 5 millimeters, with the wider apertures leaning toward the body makeup end of things. The smaller the nozzle, the more control you have. When the nozzle is too small, the application will take longer than necessary unless you need to focus the range of space you are working on.
—David Klasfeld, CEO/Creative Director, Obsessive Compulsive Cosmetics, Inc.
Compressors
Terminology
CFM: Measurement of airflow.
Moisture Filter: Removes water from air.
Oil Filter: Removes oil from air.
PSI: Measurement of air pressure (pounds per square inch).
Air Regulator: Adjusts air pressure.
Listing
Iwata Smart Jet Pro: Compressor shuts off automatically when not in use. It has an oil-less piston air compressor with built-in airbrush holder; moisture filters (removing water from air) with an air regulator (adjusts air pressure); and bleed-valve adjustment to release moisture.
Iwata Power Jet: Compressor has oil-less dual-piston air with a 3.5-liter air-storage tank. It has zero pulsation, moisture filter, and a mounted pressure gauge with air regulator for precise air-pressure adjustment.
Iwata Power Jet Pro: A compressor with a 2-liter air-storage tank with zero pulsation and an air reserve for spraying at higher air pressures. It has dual-adjustable pressure regulators plus dual-moisture filters and dual-mounted pressure gauges. The compressor also has dual quick-disconnect ports and dual built-in airbrush holders.
Iwata Power Jet Lite: Adjustable pressure regulator, moisture filter, and built-in airbrush holder.
Iwata Silver Jet: Compact and quiet single-person use with working pressure adjustable from 10 to 18 PSI. The compressor has a coiled air hose, pressure-adjustable knob, handle, airbrush holder, and pressure gauge.
Iwata Sprint Jet: A mounted air-pressure gauge with a bleed-valve airflow adjustment to lower air pressure. Pressure works from 1 to 35 PSI. Zero maintenance with an oil-less piston air compressor.
Paasche D100: ⅛-horsepower compressor delivers 15 to 25 PSI with most model airbrushes (Figure 10.7).
Paasche D500SR: ⅛-horsepower with switch and regulator, which is capable of delivering 20 to 40 psi. With an oil-less piston.
Paasche D3000R: Oil-less diaphragm compressor that is tank mounted. The compressor is compact and portable with a maximum of 40 PSI (Figure 10.8).
Badger Model 80–3 Mini Compressor: Produces 3 to 5 PSI (Figure 10.9).
Badger Model 80-7xaIR Compressor: Produces 10 to 12 PSI (Figure 10.10).
Badger Model 80-8x Air Compressor: Produces 10 to 12 PSI with built-in regulator (Figure 10.11).
All-in-One Airbrush Systems
Small all-in-one airbrush systems have fantastic overall weight. Traveling with these compressors is a snap, and using one in small spaces is a breeze. This size goes anywhere, a great advantage for the professional. There are no fancy pressure gauges or moisture meters that make airbrushing intimidating. Air Pro, Temptu, and Dinair are a few of the portable-airbrush companies on the market today (Figure 10.12).
Battery Compressors: Runs on a battery pack. Great to take your airbrush on set or in any situation where you need to be mobile.
Ninja Jet: Compact size, airbrush holder, carry handle, low-maintenance oil-less piston motor. Obsessive Compulsive Cosmetics (OCC) sells starter kits.
Temptu: AIRbrush Makeup System.
Dinair Mini-System Beauty Kit: Compressor weighs less than a pound. The system comes with a travel adapter (100 to 240 volts), and has a PSI of 0 to 7. The airbrush is a Dinair 400CA. Also included are stencils, instructions, and makeup (Figure 10.13).
Airbrush Product Lines
By Bradley Look
People ask me all the time about the dangers of airbrushing. There is an unfounded fear about the airbrush. What I usually find is that airbrushing is not being properly used in some of those cases, which leads to many of those problems. As a Makeup Artist, it is your responsibility to stay on top of the most current information and how products interact with each other. Manufacturers of airbrushes, compressors, and airbrush makeup all have instructions, plus suggestions on how to use their products so that you'll get the most from airbrushing with success. Before you start using that airbrush, know what makeup is available and, more important, what kind of makeup you are buying. What is in airbrush makeup?
Here are the six formula breakdowns of airbrush makeup available:
Water Based: This type of makeup is not unlike the standard liquid variety: finely ground, cosmetic-grade approved pigments dispersed in water. Water is the most common solvent found in cosmetics, and is usually referred to as aqueous dispersion.
Polymer Water Based: This cosmetic formulation is one of the more commonly used for airbrush makeups. Once the makeup is airbrushed, the polymer vehicle upon drying produces a continuous film on the skin.
Polymer SD40-Alcohol Based: This is just like the polymer water-based formulas (listed above), with one major difference. SD40 alcohol is used as the solvent in place of water. The alcohol assists in the drying of the product on the skin.
Alcohol Based: This type of airbrush makeup is normally known within the makeup industry as the “temporary airbrush inks” associated with the production of faux flesh art (tattoos).
Silicone Based: This is the newest formula of all the airbrush makeups currently available. This brand of cosmetic claims that it stays looking “just applied” all day without fading or wearing away.
DHA Based: Although technically not really considered an airbrush makeup, DHA (dihydroxyacetone) based products constitute the sunless-tanning systems. The use of the airbrush in spraying cosmetics gave the sunless-tanning manufacturers an idea: Why not produce a formula that can be atomized?
Now let's talk about makeup and what is on the market today. Products are listed by their brand name and/or by the manufacturer's name. All of the products listed are pre-reduced to a consistency for spraying straight from the bottle. However, if you should desire to thin the product further, check with the manufacturer first. Also, these products have been formulated to be atomized at a low PSI, usually between 3 and 6. Using the right product for the right job means a good makeup.
Airbrush Bodyart: Airbrush product available in both water and alcohol formulations. DHA tanning system offered as well.
Airmakeup Cosmetics: Polymer water-based product.
AirPro Airbrush Makeup: A water-based formula. The company also has a sunless-tanning solution. Airbrush cleaner is available for the line.
Bodyair: Polymer water-based line of products.
DCK Airbrush Cosmetics: Polymer water-based product line.
Dinair: There are three product lines available through this company: polymer water based, polymer SD40-alcohol based, and DHA. Dinair also manufactures an airbrush cleaner.
Duratat: Water-based tattoo ink containing no alcohol.
Fantasy Faces: Polymer SD40-alcohol–based formulation. Thinner for product also available.
Fashion Aire Foundation: Polymer water-based and sunless DHA formulation. An airbrush cleaner is available.
Graftobian: Polymer water based as well as polymer SD40-alcohol based. Both thinner and airbrush cleaner are available.
JanTana: DHA sunless tanner.
Jomo: SD40 alcohol based.
Kett Cosmetics: Water based and polymer SD40 alcohol based. An airbrush cleaner is also available.
KRYOLAN: Currently, KRYOLAN has a polymer water-based and an SD40-alcohol–based product line.
MAC Airbrush: Polymer water based and silicone SD40 alcohol based.
Make Up For Ever: Water and alcohol based.
Mancini Airbrush Makeup: Water based and offers an airbrush cleaner.
Marvaldi Makeup: Water-based formulation.
Michael Davy Airbrush Makeup: Polymer SD40-alcohol based.
Mist Mirage: Silicone SD40-alcohol based, as well as DHA sunless formula. An airbrush cleaner is also available.
O2 Cosmetics: Water-based formula. Also available in a DHA sunless tanner.
Obsessive Compulsive Cosmetics: Water based and SD40 alcohol based.
Reel Creations Body Art Inks: SD40-alcohol–based line.
Safari Airbrush Makeup: Polymer alcohol-based formula. DHA sunless tanner is also in the line.
Skin Illustrator Colors: SD40-alcohol–based formula line.
Stacolors: SD40-alcohol–based product line.
Su-do Body Art: Polymer water based, SD40 alcohol based, and DHA in product line. Airbrush cleaner is available.
Temptu: Water based, polymer water based, polymer SD40 alcohol based, and silicone SD40 based. An airbrush cleaner is also available in the line.
Totally Tattoo Party Body Paints: Polymer water based.
Trendy Tribals: Polymer water based.
Uslu Airlines: Polymer water based.
Remember to keep in mind that not all brands interact well with each other. So don't try mixing together two different manufacturers' product lines—their chemistry may not be compatible. A classic example is thinners. A Makeup Artist wrote to me to say she was having a hard time applying a certain makeup brand that would not adhere or cover well when thinned with the product she was using. It turns out the makeup is silicone based, which has a chemical reaction to the product she was using as a thinner. Some silicone-based makeup products do have thinners to go with their product line. The same can be said of all of the abovementioned makeup brands. Here are a few airbrush makeup tips that I have found to work over the years.
1. Less is more when airbrushing. The makeup should not feel like a mask.
2. Use a PSI of 3 to 6 when airbrushing the face. If you airbrush with a stronger PSI, there will be a larger quantity of “bounce back” of the product into the air.
3. Hold the airbrush at a downward 45-degree angle when airbrushing the eye area on the talent (Figure 10.14). Of course, have the actor close their eyes!
4. If you are going to airbrush on the eyelid, use a PSI of 3 or less.
5. Using stencils when airbrushing works well for eyebrows. (Note: Freehand actually works better and looks more natural if the person airbrushing is quite skilled.)
6. When airbrushing the face, spray in small, circular motions (Figure 10.15). This keeps the makeup even.
7. Have a folded tissue or shield to protect the hairline from overspray of makeup (Figure 10.16). Do not add tap water to a water-based makeup to thin. Use distilled water. Tap water contains minerals that can contaminate or compromise the chemistry of the makeup.
Airbrush Lesson for Natural Beauty Makeup
By Kris Evans
[Kris Evans's vast experience in film, television, theatre, HD, and print editorials helped her to develop an airbrush system and products for the professional Makeup Artist.]
I use the airbrush on everything and find it much faster and easier. With HD becoming so popular, there is nothing better than the airbrush. Many of my clients also do red-carpet events that are mostly shot in HD. HD can be very harsh, so it is imperative that the makeup be flawless. I really believe you must use the correct color in the foundation for the look to be natural. Easy touch-ups are also essential. On set, I usually use a makeup brush for touch-ups.
What's in Kris Evans's makeup kit (demonstrated in Figure 10.17)?
Primer
Foundation
Pressed powders
Lipstick, lip stain, and/or lip gloss
Eyebrow pencil
Mascara
Eye shadow
Excellent makeup brushes
Tweezerman tweezers
Eyelash curler
Cleanser
Moisturizer
How to Start
1. Set up your station with everything you need to airbrush. Be sure you are familiar with the airbrush makeup you will be using.
2. Apply the moisturizer or primer of choice to the skin first. Apply the primer with a sponge and not through the airbrush. A primer ensures a smooth surface with staying power for your airbrush. Squeeze six to seven drops of makeup into the airbrush cup. For a more translucent effect, add one to two drops of water. Remember to replace the cap on your airbrush to avoid spills.
3. Start the compressor. Position your hand on the airbrush lever as if you were holding a pencil.
4. Have your actor close his eyes. Airbrush horizontally 3 to 4 inches from the face, pulling back the airbrush lever with your fingertip. You'll see a fine mist start to adhere onto the surface of the skin. Keep moving around the face in a circular motion without stopping in one place. It's this constant movement that keeps the makeup even. Application should take about 15 seconds. If any areas need more coverage you can lightly airbrush a second coat of foundation to those areas.
5. Corrective spot covering is easy. For under the eyes, you can use a shade lighter than the foundation first. Then airbrush the entire face with the color you chose. For problem spots on the face, you can lightly spray a second layer of the foundation color.
6. Adding color for blusher or highlighters is easy. Blow out any leftover makeup color through the airbrush with a few drops of water. Add your next color choice to the cup. Blusher should be a soft blush color applied by hand or an airbrush. Lightly spray a highlighter color along the cheekbone, brow bone, under the eye, or anywhere a highlight is needed.
7. Set your makeup with a setting powder. You are now ready to finish the rest of your makeup application. Sweep an eye color over the lid—and, if needed, a subtle eyeliner. Don't forget the eyebrows. Top your makeup off with a flattering lip stain, lipstick, and/or lip gloss.
8. When all the makeup has been fully blown through the airbrush, detach the gun from the hose, and place the cup under running water. Connect your gun to the compressor. Turn it back on and run through with the appropriate cleaner for the airbrush makeup you are using. Many makeup lines need very specific cleaners.
Maintenance: After every few applications, pull the needle out and wipe clean. Be careful not to bend the top of the needle.
Airbrushing with Stencils
By Dina Ousley, Founder, Dinair
Stencils are used in beauty airbrush makeup to achieve a cleaner, softer, less made-up look. With HDTV and digital HD cameras, every detail is visible. Feature or flaw, it shows. Airbrushing an entire makeup is perfect for these technologies. Shields and stencils are used to protect areas of the face or body where you don't want colors to go, while allowing you to define perfect natural eyebrow shapes, lip shapes, and to feather and blend existing colors. At Dinair, we use shields (stencils) for beauty makeup, fantasy, glamour, and tattoos. The following sections explain how to work with and apply the use of shields in a natural beauty makeup.
Foundation
Start with a clean face, and make sure that the spot where you choose to spray the airbrush makeup is free of any moisturizers or oils. Apply a primer before the foundation. Choose a color that is in the shade range of the skin tone you are working on. The liquid must be shaken before use to correct pigment. If you want to create a custom color match, you can always mix your foundation colors using the airbrush with a technique called back bubbling.
If you were to look at airbrush makeup under a magnifying glass, you would see that the makeup consists of light, medium, dark, and blush-colored dots. Look at the actor's skin tone. If there is anything dark around the face—such as hyper-pigmentation, birthmarks, or age spots—lighten with one or two shades lighter than the person's natural color before applying the natural shade. You need only five to eight drops of makeup to spray an entire face, neck, and ears. Spray the natural shade over the concealer. Spray sparingly so you don't lose your highlights.
Work in passes. A pass is every time you go over the same area, the dots fill in, and the coverage becomes more opaque. Make sure to use one pass at a time—one pass, two pass, three pass, and so on, until you have the right coverage. Dots are the ultimate in camouflaging.
Leave enough open coverage. Open coverage is the space around the dots of color (your skin) that you have sprayed. This allows you to fill in with some blush color or use the natural redness of the skin to become the blush. We call this the window of opportunity. Spraying sparsely is the key to success. Keep the distance of your airbrush about six inches away from the skin while spraying foundation, using circular motions with back-and-forth movements. This is key to an even application.
If you need the person to have a warmer complexion, lower the pressure of airflow, and use a base that is a few shades darker than the skin tone. Spray over the skin to create a bronzing effect.
When spraying around the eyes, note that the natural folds and squint lines must be gently opened and sprayed in the direction that they appear. If the lines and folds change direction, so should your spraying. Remember to spray especially sparingly so the airbrush makeup does not collect into the folds and squint lines. You can use the remainder of the airbrush makeup in the cup to spray the top of the hands to knock down sun spots and add tone.
Eye Shadow
1. Put two to three drops of liquid eye shadow into the airbrush cup.
2. To create a custom color, mix them by creating back bubbles with your airbrush.
When mixing custom colors in the airbrush cup, hold a tissue in front of the nozzle to block the airflow. Then pull the lever back until you see the colors start to bubble and give off a marbling effect. Remove the tissue to restore airflow, and spray the airbrush makeup into the tissue to see your new custom color.
3. Keep the eye area clean and free from moisturizers or oils. Moisturizers can cause eye shadow colors to crease.
4. Set the airflow to 3 or 4 PSI.
5. Hold up a shield (stencil) that follows the contours of the eye, and gently pull back the airbrush lever.
6. In a small, continuous motion, spray the shadow color by making several passes until you reach the level of color desired. Note: If you hold the stencil flat against the skin, your edge will be more defined. Holding the stencil slightly above the skin will give a softer feathered edge (Figure 10.18).
Eyeliner
1. Change out any color you desire for eyeliner.
2. Set the airflow on a low PSI of about 3 to 4.
3. In the same way as for the eye shadow, follow the natural lash line in a back-and-forth motion, building the color with each pass. Note: An eye shadow stencil held directly on the lid close to the eyelashes will give you defined eyeliner. A stencil held just off the lid while airbrushing eyeliner color will appear feathered.
Eyebrows
1. You will want to put a total of two to three drops of eyebrow coloring in the cup.
2. Hold the stencil up to your eyebrow, and bring it flush against your skin for a sharp edge.
3. Distance the stencil, allowing the overspray to cover and define the brows, giving them a soft, naturally feathered look. Note: You can use the stencil to spray the entire brow, or just fill in the brow where needed. You may also want to use the front of one brow stencil and the tail of another, creating the perfect eyebrow look for you.
Dinair has hair stencils to fill in sparse areas. Each stencil has a selection of hair shapes that can be tailored for your needs. This is a particularly good way for women who have lost some of their eyebrows to again have naturally beautiful brows.
Lip Color
1. Change out your eyeliner color for a lip color of choice.
2. Take a lip edge and lay it flat against the lips.
3. Work on small sections at a time. Note: Laying the stencil flat against the lips will give you a defined lip line. Work closer to the lips for a narrower line.
4. Work farther away from the lips to finish the rest of the lips.
5. Apply lip gloss over the colored lips for an extra-shiny finish.
Blusher
1. Apply blusher color by sweeping across the cheekbone area with the airbrush. The cheeks should never look made up. A subtle hint of color is all you need.
2. Use a loose tissue to block off any unwanted color into the hairline, being careful not to hold too close to the skin—this will create a hard line.
To find the natural contours of the cheeks, have the actor smile while you airbrush the cheek color. Go to www.airbrushmakeup.com for video instructions.
How to Clean your Stencils
By Bradley Look
Productivity and the life of your stencils can be vastly improved with regular cleaning. Just as you should always leave your airbrush clean, so should you treat the rest of your equipment. This is particularly paramount when working as a Makeup Artist who's using an airbrush on talent. After all, you wouldn't use dirty sponges or brushes, would you? A stencil comes in contact with an actor's skin and should be cleaned frequently. Simple steps are all it takes to maintain clean stencils. First, you'll need the basic equipment to get started.
Materials
A solvent-proof tray (such as an enamel butcher's tray, found in most art stores)
Paper toweling
Powder puffs
Isopropyl alcohol, 99 percent
Spray bottle
Synthetic brush (with soft bristles)
To Begin the Whole Cleansing Process
1. Detach two sheets of paper toweling from the roll, and fold so that the toweling will fit inside the butcher's tray (Figure 10.19).
2. Carefully pour the isopropyl alcohol on top of the paper toweling so that it is entirely saturated with the solvent (Figure 10.20). Note: If you are unsure whether the solvent will affect the material your stencil is made of, check a small section before immersing it.
3. Lay the stencil face down (dirty side) onto the toweling (Figure 10.21).
4. Let it sit there for several minutes so that the solvent can loosen all products on its surface. Note: If both sides of your stencil have dried product on them, then you'll need to flip the stencil over to soak.
5. Now flip over the stencil onto the paper toweling (dirty side up).
6. Saturate a powder puff with solvent, and lightly pat the stencil to remove product (Figures 10.22 and 10.23).
7. Once you're satisfied with the cleaning, rinse the stencil off with tap water in the sink.
8. Lay the stencil down on some clean paper toweling and pat dry (Figure 10.24).
9. Store the now-clean stencil away for the next time you'll need it (Figure 10.25).
Airbrushing Silicone Prosthetics
By Kazuhiro Tsuji
[Kazu illustrates an example of using the airbrush on a silicone appliance (Figure 10.26). This professional example is for an Old Age Makeup design for film.]
Before Actor Prep
1. Seal your pre-painted appliances with a thinned plastic bald cap material like Mouldlifes and New Baldies, available at Motion Picture FX Company.
2. Powder the sealed appliance.
3. Trim out the flashing where necessary.
4. Clean up the back side of the appliance with 70% or 99% alcohol.
5. Pre-glue the appliance with Telesis or Snappy G. Snappy G is a silicone adhesive from Mouldlife that is stronger than Telesis. You can use this adhesive on the entire face, but if the actor has sensitive skin, use just around the mouth area. If the actor sweats a lot or if you need extra hold for a long shooting day, I would use a stronger adhesive all over to secure the piece.
Note: Whatever you do, do not trap wet glue under the appliance. The solvent in it could irritate the skin. Before you lay the appliance down, let the solvent “flash off” from the glue as much as possible.
Actor Prep and Application
1. Ask the actor to wear a button-down shirt to work. It will be easier to remove clothing after the application is done and will not disturb the makeup. Place a cap or towel over the actor's lap.
2. If using a bald cap, wrap the hair for a bald cap application (see Michele Mulkey's bald cap application, Chapter 8).
3. Clean the surface of the skin with Kiehl's Blue Toner, followed by an application of Michael Davy Sweat Stop, wherever necessary. Make sure that both products are dry before you start to apply the appliances.
4. Lay down (flatten) the eyebrows with KRYOLAN Eyebrow Plastic, and then cover with PAX Paint. If the silicone appliance is thin around the eyebrow area, the PAX Paint will block out the brow color so that it will not show through.
5. Glue down the appliances. I usually use a template of the appliance—a copy of the appliance cast out of the appliance mold in firm silicone. Lay the template on the skin; using a powder wand, trace the edge with RCMA Translucent Powder. This will help guide you in applying the appliances in the correct location. Silicone appliances are very soft. It is easy to apply a very soft silicone appliance without stretching it. After the piece is glued down, make sure the appliance has been glued down all the way to the edges. Melt the “flashing” off the appliance with a small amount of acetone on a paint brush. Be sure to have a fan or hair dryer blowing off the fumes from the actor's face. Do not use too much acetone. If the acetone drips or the actor feels it on the skin, that means you are using too much.
Note: I use Dyson's Air Multiplier. It has a gentle and consistent air flow. You can put it right between the actor and the mirror at your makeup station. The actors can still see themselves and you can control the amount of airflow.
6. Seal the edges with a 50:50 mixture of Duo Surgical Adhesive and Premiere Products Beta Bond Plus. You can change the formula according to your needs. If you want this mixture to be applied to the eyelids as in an old age stipple, add more Duo. You will have a better wrinkle effect for the eyes. Dry with a hair dryer and powder. Apply Ben Nye's Final Seal with a white sponge to get rid of any powdery effect on the edge. If you spray the Final Seal from the spray bottle, you will add too much and not have control over the product.
7. Apply old age stipple (or appliance) on the hands.
Painting
I airbrush with Premiere Products Skin Illustrator and Reel Creations airbrush colors thinned down with alcohol. You should never use these colors as they are; always mix your own colors. You have to know what you want to see and how to paint it. This will decide the silicone's opacity and color. The color you mix and how much you thin down these colors will affect the final outcome of the appliance. Rather than 99% isopropyl alcohol to thin down paints, I use either Premier Product Thinners, or ethanol alcohol 99% or weaker. For additional colors, you can use RCMA's Appliance Foundation, thinned with AF Thinner or 99% alcohol, or both. Any oil makeup that will stay shiny on silicone appliances sometimes can be used, but try to use a minimal amount of oil.
My favorite airbrushes are the Iwata HP-C 0.3 mm and the Paasche H with #3.
For airbrush spattering, I use a vinyl tube fitted over the feeder cup. I came up with this when creating a “larger-than-life” portrait makeup of Dick Smith. Having a hard time spattering under the chin area, since it was too big to move, I added height to the feeder cup. You get a better feed for spattering and there is less of a chance of spillage, especially under the chin.
Put a quick disconnect on each airbrush so that you will not have to carry more than one hose. I use a 25-foot-long air hose. This way you can direct the compressor's noise away from the actor. When you use a small compressor, it works like an air tank to stabilize the airflow.
Use the lowest pressure on the compressor as possible. Of course, put an air filter and regulator on it. It is surprising that many Makeup Artists never have tried an airbrush on themselves. You should—it is uncomfortable, especially around the eyes, nose, and ears. Every Makeup Artist should be airbrushed so that they know what it feels like; this will help them find a comfortable way to use an airbrush on actors and/or other clients.
Note: When you pre-paint your appliances before the application, seal the paint job with a thinned bald-cap material. It should be very thin, mostly acetone. Give an extra coat on the neck area where costumes will rub against your work or the hairline where wigs or hairpieces will be glued down.
Check all of your work before applying any wigs or hairpieces. Use ADM Tronics Pros-Aide paste (mixed with Cab-O-Sil or TS-100 Fumed Silica), W.M. Creations Spirit Gum or Matte Silicone adhesives for gluing any type of wig lace.
Spray using Paasche fine spattering with Makeup International Super Matte Antishine mixed with distilled water over the entire surface. For extra matte, apply Antishine or M*A*C Matte right out of the tube or container.
Finally, check all of your work and final touch or adjust for the camera.
Application of Airbrush Body Makeup
By Bradley Look
The airbrushing of makeup is not exclusively used only on the face. Its use to apply body makeup is becoming just as common. The use of the airbrush has become a standard application tool with spray tanning products across the country. Airbrushing of larger areas speeds up the process and allows for a more even coating of cosmetics than is possible by hand application alone.
Setting Up Your Work Area
As you will be working on a larger surface than just the face, having a separate spraying area set aside for this purpose is advisable, since there will be more airborne particulate matter in the air. It cannot be overemphasized enough that the room or tent (commonly used when many people have to be sprayed) must have an exhaust system, to remove all product from the air. Many Makeup Artists will tape a furnace filter to the front side of a box fan and position it close to a doorway in order to suck harmful particles from the room. Additionally, I have used whole-house air ionizers, which drop airborne particles from the air by sending an electrical charge (negative ions) through the air working with an effect similar to static electricity. A six-foot table should be set up for your airbrushes and compressors along with all necessary makeup products. Other supplies might include a hair dryer with a cool setting, powder to set the makeup, latex sponges, power strip, and appropriate cleaner to remove residual product from airbrushes. A word of warning: Heaters are nice to have but be careful where they are placed when working with alcohol-based products.
Instructions to Give Actors
The day before you are to apply body makeup, specific instructions should be given to actors. For example, if all body hair needs to be removed, it should be done a day or so ahead of time in order to allow the skin sufficient time to recover, in case it breaks out. If the person wishes to moisturize his or her skin before reporting for makeup, a water-based lotion needs to be used in order to allow the makeup to “take” evenly. Another issue to mention to your performer is the use of deodorants. Only roll-on types of antiperspirants should be used because spray deodorants always cover larger areas and the film they leave on the skin will keep makeup from adhering properly. And one last subject that needs to be addressed: Actors need to be instructed not to drink any alcohol the night before the application of body makeup—this is especially true if an alcohol-based product such as temporary tattoo ink (i.e., Reel Creations, Skin Illustrator, or Temptu) is going to be sprayed on the body. Alcohol can seep through the pores causing makeup to lift or even dissolve. I've seen this happen firsthand.
Makeup and Airbrush Supplies
The choice of makeup you use will greatly depend on the durability of the finish you ultimately need. Generally, airbrush spraying for body coverage will consist of the use of spray guns since they can cover larger areas more evenly and quickly. For example, I use Iwata's LPH-50 Spray Gun in the Baby Series since it can be operated on a low PSI setting of 10 to 13. If you only need to spray the arms or legs, Iwata's Kustom Hi-Line TH will work perfectly. The TH works similarly to other spray guns in that it can spray fairly wide using the fan tip or more directly by using the cone tip. The Kustom TH also has the ability to spatter, which comes in quite handy when covering tattoos. Be sure to always operate spray guns at the lowest possible PSI setting to reduce dangerous overspray. On the topic of compressors, always use one that can properly operate the type of gun you're going to spray with.
Applying Body Makeup
To begin, use filter masks to airbrush for long periods of time or when proper ventilation is not at its best. This includes the actors you are working on. Start airbrushing any primer you might use first. Be very careful to take your time and not cause drips or uneven skin tone. Work in long sweeping motions using the whole arm and not just the wrist. It is best to work from the arms inward. When doing the legs, if possible, have the actor step up on an apple box or some other type of platform to save your back from the strain of bending over. If the makeup needs to be more durable, a makeup sealer is advisable.
On-Set Touch-ups
A small tent or designated area near the set to do touch-ups on body makeup will be needed. Ask your AD department to assist you with this setup. You will also need the electrical department to set up power for your compressors, fans, or hairdryers. NEVER plug into any power setup on set: Always ask an electrician to provide you with power and they will plug it in for you. Also, there are battery-operated compressors that work wonders for small areas of touch-up. Be prepared by having whatever you may need on hand.
Removing the Makeup
For removing most tattoo inks or glues, a 50/50 mixture of isopropyl alcohol and isopropyl myristate used on a powder puff breaks down most makeup.
Cleaning your Airbrush: Paasche
By Paasche
Follow these steps to clean your airbrush (Figure 10.27):
1. Pour any leftover color back into its container.
2. Rinse and wipe color cup or bottle assembly clean. To back-flush color from the airbrush, keep bottle assembly or color cup attached.
3. If using a color cup, cover the top of it with your thumb or a cloth to keep air from blowing out.
4. Place one finger over the air cap of the airbrush, and release some air by depressing the finger button. This causes back pressure, which induces a bubble action inside the airbrush and container. This helps clean the fluid passage.
Spray excess airbrush cleaning product into a cleaning pot, sometimes referred to as a cleaning station. The cleaning station has a filter system that helps to trap harmful solvent so as not to be introduced into the environment.
—Bradley Look
Safety
Certain safety issues do come up with airbrushing. Having good ventilation is at the top of the list. Although there is little or no proven risk of airbrushing with makeup and low-PSI compressors, you, as a professional, are responsible for knowing all of the current safety recommendations in order to protect yourself and the actor's health. One of the main defensive actions to protect yourself and others while airbrushing is to locate your station near an open door, and/or by having open doors at either end of the trailer. Windows should be open and any built-in ventilation systems running. There should be a limit on the number of Makeup Artists in the trailer who are airbrushing at the same time. Airbrushing has little or no risk, but spray-on tanning is a greater concern. Good websites to research the latest findings on cosmetic ingredients and workplace safety issues, respectively, are the Food and Drug Administration at www.fda.gov and the Occupational Safety and Health Administration at www.osha.gov.
References
KTS Effects, Inc.
Tsuji, K., Special Effects Designer and Makeup Artist.
Internet Resources
ARTtalk.com ARTtalk.com, www.arttalk.com.
Badger Badger, www.badgerairbrush.com.
Evans, K, Krisevansmakeup.com.
Food and Drug Administration, www.fda.gov.
Iwata Iwata, Professional Airbrushes and Accessories, www.iwataairbrush.com.
Klasfeld, D, Obsessive Compulsive Cosmetics, www.occmakeup.com.
Look, B., Original articles written for the online magazine, Airbrushtalk.
Mandor, S, www.temptu.com.
Occupational Safety and Health Administration, www.osha.gov.
Ousley, D, www.dinair.com.
Paasche Paasche, www.paascheairbrush.com.