“Old-Age” Make-up
If the character desired to be represented is carefully studied, notice being taken of where there is a high light and where the shadows of the face lie, there should be little or no difficulty in producing a lifelike representation.
Particular notice should be taken of wrinkles and lines, and these must be carefully blended as in [Fig. 14].
The next essential is the wig, either gray or white being the most useful. For the old age complexion it is better to get the grease paint for that purpose; but when the necessity for it is but seldom, an application of the sallow paint, or in the case of great emaciation, the addition of a little blue, well blended, will create quite a good effect.
Fig. 15a.—Natural features.
Fig. 15b.—Putty applications.
| A. | Putty | addition to | forehead. |
| B. | „ | „ | nose. |
| C. | „ | „ | chin. |
Fig. 15c.—Finished features.
Sometimes it is required that the nose shall be made larger; then the “nose putty” is called into play, carefully modeled on to the nose, and with the aid of the same grease paint as is utilized for complexion, made to correspond with the rest of the face ([Figs. 15a], [15b], and [15c]).
Fig. 16.—Hand made-up for “old age.”
Dark shadows under the eyes can be produced by gray grease paint, but for the formation of crow’s-feet, the brown will be found the best.
Fig. 17.—How to measure for a wig.
The hands must receive careful attention when the face and neck are finished, and “made-up” according to character. If juvenile, they require coloring; if middle-age, a little of the sallow paint: the veins accentuated, and the flesh made to look pale for old age parts ([Fig. 16]).
When measuring for a wig, take the various lengths and widths as indicated by the numerals in [Fig. 17].