Sixth stage. Smoothing off and blending. Use the baby brush for this; there is nothing else so good. It is surprising in its results. Do not press the brush too hard on the face; dust the surplus powder off carefully with a light touch, to leave no streaks or patches anywhere. If now the face has a greasy look, you have not used sufficient powder.
Seventh stage. High lighting. Take some of your No. 18 Dorin's dry rouge on the rabbit's foot and dust a very little on your cheeks. Do not press it down, just tickle about the edges of the rouge to be sure it blends perfectly with the foundation. If there is too much white about the nose, dust it lightly with the rabbit's foot. You can turn the paw around and blend with the end that is free of paint. Never show a white ear to the audience. If ears come into style again, as they will, the lobe and rim should be made a healthy pink, but not a strong red, with the rabbit's foot.
Eighth stage. Darkening the eyelashes and eyebrows. Use Leichner's No. 60 black mascaro; dark brown for light blondes. The lower lashes are better left without the treatment, since they are almost certain to smear the face if treated, and the shadow you have already placed there takes care of the lower lashes all that is necessary. Apply the mascaro to the upper lashes with the brush that comes with the mascaro, or any fine brush will do. Start a delicate line on the edge of the eyelid at the outer corner of the eye, let it curve slightly downward at the start. This line should not exceed half an inch in length and is never carried beyond the eye socket. Do not make the line heavy nor longer. A very little mascaro must be brushed lightly on to the eyebrows, following the curve of the upper eyelid. Fix the eyebrows carefully about three-quarters the size of the mouth, using black or brown mascaro according to whether your type is dark or light.
In this place we are going to tell you how to bead the eyelashes, but unless you are a professional actress and your part will be decidedly enhanced by having the eyes very much in evidence, we advise against your undertaking it. It is not a necessary stage in the makeup process, but it comes into the story of makeup naturally and we give it here for the benefit of those who may wish to make use of it. Beading the lashes consists in placing a small bead of cosmetique on the extreme tip of each lash. This is best done on the upper lashes only, leaving the lower ones free. The Lockwood Cosmetic Stove is a small affair that holds a piece of candle and a baby-size frying-pan, or skillet, and is one device for its purpose that has the approval of fire insurance companies and so will not be objected to by the theatre fireman. There are some heating devices that you are not permitted to use in any theatre, and persistence in their use after being once cautioned has caused arrest more than once.
CLASS IN STAGE MAKEUP AT THE NED WAYBURN STUDIOS
In this connection many interesting true tales might be told of principal actors being taken bodily from the stage in the midst of a play and landed in the local jail, causing the curtain to be lowered and the audience dismissed. The stage fireman, assigned to every first class theatre during a performance, has authority to enforce all ordinances intended to prevent fire and eliminate fire risk in playhouses, even to go to the extremity of arresting offenders against the public's safety. So be careful to use only a Lockwood Cosmetic Stove or some equally safe affair in your dressing room.
You light the candle, place a small amount of Roger and Gallet black cosmetique in the little pan and heat it over the candle flame till melted. Take up some of this molten cosmetique on the flat end of your orange wood stick and apply it with a deft quick stroke to the upper lashes, painting each one separately and without clotting, so that a little bead hangs to the tip of each upper lash. Use care not to drop any of the black on your makeup. The effect of this beading is to beautify the appearance of the actress by bringing out her eyes in a wonderful manner under the strongest of spot lights.
Ninth stage. Red dots in the inner corners of the eye. Dip the paper felt liner in the moist lip rouge and with it make a tiny red dot in the extreme inner corner of each eye, but on the lid—not in the eye—to space the eyes and make them look to be the distance of one eye apart. Keep these dots well away from the nose, or they will tend to make you look crosseyed from the front.