Lining
Lining is an important part of “make-up,” by its aid the lines of the face being diminished or deepened, shadows created for sunken effects, and “high lights” produced—i.e. touching up the cheek-bones to give them prominence. By careful use of this latter branch of “make-up” the whole character of the face can be changed. High lights are produced by a lighter shade of grease paint than that used for the rest of the complexion, being placed upon the feature to be emphasized; for instance, if the actor wishes his nose to appear thinner, he will draw a straight white line from the top to the tip, enhancing the effect with a careful application of the gray paint ([Fig. 1a]). The cheek-bone, nose, chin, and brow are parts of the face which are made up for high lights, though if wrinkles are to be accentuated this is usually done by the addition of a “high light” effect on each side of the existing dark line ([Figs. 1b] and [1c]).
Fig. 1a.—High lights.
Fig. 1b.—High lights.
Fig. 1c.—High lights.
To make cheeks appear hollow, gray-lining paint is used, the effect of emaciation being produced by the careful blending of the last-named paint with the grease paint previously put on.
Fig. 2.—Low lights.
Shadows, or low lights, give the effect of hollowed cheeks and sunken eyes, and instead of making features more pronounced, as is the case with a careful “high light” make-up, decrease the prominence which certain parts usually possess ([Fig. 2]). When making-up for a beldame, or some other character which should appear more than usually haggard, a striking effect is obtained by adding a spot of either dark-gray or brown, and blending it outwards.
Fig. 3.—Before lining.
Fig. 4.—After lining.
The lining of the eyes requires special attention, more particularly as their appearance depends so much upon the change of the eyelids ([Figs. 3] and [4]); eyelashes too, when properly treated, make a vast difference to the usual expression.
When it is necessary that the eyelashes should be more pronounced, black grease paint is put on to the end of an artist’s stump, melted very slowly by being held over a candle or other flame, and so applied. Care should be taken, however, that no grease paint goes into the eye, so when melting it must not be allowed to become too soft. Black-lining grease paint is the best for eyelashes, and the amount applied depends entirely upon their natural thickness and darkness.
For darkening or lightening the eyebrows, grease paint “liners” are indispensable, and much preferable to India ink. Sometimes it is necessary to obliterate part of the eyebrow before the rest is “drawn-in,” in which case it is first of all coated with soap and then covered with the same grease paint as used for the groundwork of “make-up.” This done carefully, and toned to the same shade as the rest of face, leaves the actor free to “draw-in” any shaped eyebrow he desires. For a very thin eyebrow a toothpick can be utilized to advantage, a little melted grease paint being rubbed upon it, and the line drawn with it ([Figs. 5] and [6]).
For Oriental effects the obliteration of the eyebrows is essential, and fresh ones with an upward tendency can be drawn-in at will, when once the natural ones have been made to disappear.
More often than not it is necessary to increase the eyebrows, making them look thick and heavy, and if Nature has endowed the player with massive ones, it is an easy matter to comb them up the wrong way and apply a small quantity of grease-paint; but if they are naturally thin the aid of false ones must be sought. Crêpe hair, which is an indispensable accessory to the “make-up” art, can here be brought into use, the ever-helpful “adhesia” being required as well.
Fig. 5.—Eyebrow before lining.
Fig. 6.—Eyebrow after lining.
The best plan is to model on a comb the eyebrow according to the shape desired; then, placing the latter in position, make it fast with the use of the adhesia, taking care that the gum is only on the edges and not on the hair of the real eyebrow.
To obtain a sinister expression, eliminate the outer edges of the eyebrows and paste a piece of crêpe hair over the eyebrows near the nose, the Mephistophelian effect being gained in the same way, except that the outer corners should curl upwards ([Figs. 7] and [8]). By fixing on pieces of crêpe hair so that they meet over the nose, a stern and even fierce expression is produced.
Fig. 7.—Natural eyebrow.
Fig. 8.—Mephistophelian effect produced with crêpe hair.