SHB30215 Certificate III in Makeup
WRB20104
WRBCS201B – PROVIDE MANICURE AND PEDICURE SERVICES
SHBBMUP006 Design and apply creative makeup
LEARNING MATERIAL
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Student name:..............................................................
Student ID:.................................................
Date:.............................................
Student name:..............................................................
Student ID:.................................................
Design and apply creative make-up
Date:.............................................
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UNIT SCOPE
Element 1. Establish creative makeup requirements.
1.1 Consult with client to develop design brief.
1.2 Confirm makeup requirements and occasion with client.
1.3 Identify lighting and photography to be used for occasion.
1.4 Identify contraindications and refer client to appropriate professional as required.
2. Design makeup plan.
2.1 Investigate makeup themes and creative looks and source reference material for use in designing creative makeup.
2.2 Identify make-up products, equipment and techniques that are needed for desired colour schemes and creative looks.
2.3 Generate creative ideas and design makeup plan.
2.4 Explain make up plan to client and revise as required.
2.5 Confirm makeup plan and service timing with client.
2.6 Arrange makeup trial as required.
3. Prepare for makeup services.
3.1 Prepare service area, equipment and self.
3.2 Cleanse client skin to thoroughly remove makeup.
3.3 Select makeup products and equipment according to makeup plan.
3.4 Identify the client’s skin type, condition, colour, tone and undertone to select foundation.
3.5 Identify facial shape, and identify areas requiring corrective makeup.
4. Apply creative makeup designs and post service advice.
4.1 Apply makeup according to modified makeup plan.
4.2 Confirm makeup application meets the requirements of client and makeup design.
4.3 Advise on makeup products and techniques to maintain makeup throughout occasion.
4.4 Recommend makeup removal products and methods.
5. Clean service area.
5.1 Clean non disposable makeup equipment and tools.
5.2 Restock equipment and products to prepare for next service.
5.3 Dispose of general waste and any hazardous substances to minimise negative environmental impacts.
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Creative makeup
Creative makeup refers to makeup that is used to create character designs on the face and body. This includes;
• Clown and fantasy.
• Tattoos.
• Catwalk.
• Period.
• Avant-garde.
• Film, television and stage.
These makeup images can be used in;
• Fashion shows.
• Theatre productions.
• Film and television productions.
• Photographic shoots.
• Social occasions being public and private events.
Sources of inspiration for creative makeup can come from;
• Print media.
• Internet.
• Social media.
• Films and videos.
• Photographs past and present.
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A career as a makeup artist
Makeup artists apply makeup to fashion and photographic models; actors and other performers involved in stage, film
and television productions, and for other special occasions.
Job skills for makeup artists.
• Prepare the skin for makeup application and remove makeup as required.
• Advise clients about makeup application.
• Select desired makeup products and tools, or mix oil, grease, and colouring in order to achieve specific colour effects.
• Apply a wide variety of professional makeup products.
• Design wigs, beards, masks and prosthetics (artificial body parts) and apply them to achieve an appropriate character
appearance.
• Use makeup to produce effects such as ageing, illness, scars and bruising.
• Alter or maintain makeup during productions to ensure the continuity of a performer's appearance.
• Advise hairdressers on the hairstyle required for character parts.
Makeup artist personal requirements.
• Artistic ability.
• Good colour perception.
• Patient and tactful.
• Good communication skills.
• Good hand-eye coordination.
• Able to work under pressure.
Mel Gibson with makeup artist Michelle Lowe
on the movie set of “TIM” filmed in Australia.
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Makeup artist role
Makeup artists are recruited onto films or stage productions during pre-production and work throughout the
production, usually on a freelance basis. They must be able to meet production requirements. They may also work with
facial hair, and may be required to affix any required small prosthetics. They must select appropriate commercial
makeup products specially designed for film, TV or stage. They must work to specific deadlines. They discuss colour with
production and costume designers. They make appointments for, and if necessary, go with actors to facial hair fittings,
prosthetic castings, optician and dental appointments. The hours are long and the work can involve long periods
working away from home.
Makeup artists are provided with a movie or stage script with scene breakdowns, detailed notes for a TV commercial, or
reference pictures of fantasy images. They apply makeup, affix prosthetics, and use specialised techniques to create
specific designs. They work with facial hair and false pieces, such as beards and moustaches. They may also apply
special effects makeup, e.g., grazes, cuts and bruises, and bald caps.
On movie and television commercials makeup artists accompany their performers onto set, and stand by during their
scenes, touching up makeup between takes, and ensuring that continuity notes are maintained using digital or Polaroid
photographs. When the scenes have been shot, makeup artists remove performer’s makeup. They remove facial hair
and small prosthetics, ensuring that they are cleaned and prepared for further use. Makeup artists may be required to
assist with publicity shots.
Makeup artists ensure that actors are comfortable with their look, note any allergies or sensitivities and report them to
appropriately qualified personnel. They must also carry out full risk assessments, and develop procedures to control
risks.
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Face painting
Body painting that is limited to the face is known as face painting. It uses water based paints that are easy to use, dry
quickly and don’t smudge as long as the paint remains dry. Remove the paints with wet cotton wool and a mild soap.
Basic application techniques.
1. Always apply the base coat first with a fairly dry sponge. Take the paint up to the hairline, just under the chin and
over the lips.
2. Apply one colour at a time. When painting a large patch of colour, draw the outline first with a fine brush, then fill
it in with a thicker one. Use firm steady brushstrokes and don’t stretch the skin.
3. Add paler colours before darker ones. To overlap colour use shorter brushstrokes to give the appearance of
blending. Darker colours are added last. If using glitter gel apply with a dry brush.
4. Dip the brush into clean water, roll brush around in one tub of face paint not
pressing too hard. Repeat if brush needs more water and more paint.
5. Hold the brush at an angle from the face.
Application tips.
• Before beginning make sure to have one or two posts of clean water handy. Keep
changing the water frequently and keep all brushes and sponges scrupulously clean.
• Always apply water based make-up to clean, dry skin.
• Never use face paints where there are skin problems. Test a small patch of paints
on inside of client’s arm. Leave for one hour to see if there is a reaction.
• Create designs that have clean lines that give impact
without looking messy.
• Take care when painting around the eyes. Have the
eyes closed until the paint is dry and never paint too
close to the bottom of the eyes.
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Face painting tools
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Fantasy techniques
Painting lines.
1. Place little finger on client’s face holding the brush firmly but not too tightly.
2. Paint a line without lifting the brush.
3. Put more paint on the brush before creating another line. Wash brush before changing colours.
Using glitter.
1. Squeeze out a little glitter paint and dip tip of brush into it.
2. Dab the glittery tip gently onto the face. Fill in the shape with the glitter using the dabbing technique.
Using jewels.
1. Squeeze a little of the special glue designed for face painting onto you finger and place it on the face where the
jewel is required.
2. Hold the jewel at the edges and press it gently onto the glue. Don’t touch it while the glue dries.
3. Using a self adhesive jewel wait until the face paint is dry then press it on.
Clown make-up.
1. Sponge on a white base. Let dry then paint in black triangles below the eyes. Add pointed eyebrows.
2. Paint a circle on each cheek. Join them to the lips. Paint the lips, taking the bottom one onto the chin.
Fantasy make-up looks.
• Fairy makeup.
• Vampire makeup.
• Gothic makeup.
• Cheek art makeup.
• Halloween makeup.
Clown step 1
Clown step 2
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Body painting
Body painting uses water based paints that are painted onto parts or all of the human skin. Large scale or full-body
painting is commonly referred to as body painting while smaller or more detailed work can sometimes be referred to as
temporary tattoos.
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Temporary Tattoos
Using stencils
Stencils are made from a thin, durable plastic which is reusable and easy to clean. The tattoo design is cut into the
plastic, leaving holes for the makeup to go through. Some stencils come with a cosmetic-grade adhesive on the back
which sticks the stencil to the skin, leaving both hands free to apply makeup. The adhesive lasts for a few applications.
Other stencils don’t have an adhesive backing, but you can get spray-on adhesive that is easy to clean off after every
use. Medical tape can also be used around the edge of the stencil to secure it to the skin. Stencils can be used either
way round.
Ready-made transfers come in a variety of designs, colours and sizes. Some transfers are in full colour, others are just in
black, which can be left as is or coloured in freehand with tattoo makeup colours. They can be bought individually and
some come in packs of similar designs or theme.
Only use professional tattoos designed for use on skin, as unregulated products can be made from toxic dyes that cause
reactions like blistering and rashes.
Removing temporary tattoos.
Simply rub a non irritating oil or alcohol into the tattoo and it will break down the transfer and colours. Soap and water
can also remove some tattoos.
FORMATIVE 1. VIEW VIDEO ON TEMPORARY TATTOO APPLICATION USING AIRBUSHING EQUIPMENT.
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Avant-garde makeup
Avant-garde makeup is used for makeup assignments that require experimental themes being dramatic, artistic, and
often extreme.
The features of this makeup style include;
• Very artistic and unusual or unique.
• Dramatic and stylised.
• Follow a specific theme or meant to evoke a certain image.
• Often uses bold or unusual makeup colours.
• May have heavy emphasis on a specific feature, often the eyes.
• Use of additional mediums such as gems, feathers, or glitter.
• Use professional quality cosmetics.
• May take a significant amount of time to create.
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Catwalk makeup
For catwalk makeup there are a number of distinct styles of makeup, some being of a sophisticated or glamour look,
others are a more natural or softer look. For some shows an Avant-garde or fantasy look is required. The basic rules
for catwalk makeup remain the same as other makeup but the final result is much stronger.
Considerations prior to creating catwalk makeup.
• Clothing style.
• Colours used.
• Overall theme.
• Style of the hair.
• Number of models.
• Lightening design.
• Amount of time allocated.
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Period makeup
1930 Sad Eye look.
Natural skin tone with raspberry
lips, yellow/red blush for dark hair
– violet blush for fair hair, eye
shadow blue, mauve, green or
brown, mascara first appeared in
1930.
1950 Doe Eyes.
Eyes, top and bottom, lined
with pencil and almond shaped,
upper lids shadowed, eyebrows
pencilled in and lashes
darkened with mascara.
1962 Egyptian look.
Eyebrows are blackened and extended, eyes
heavily lined with black, upper eyelids
shadowed with Nile Green and highlighted
with white. Eyelashes blackened with mascara
and lover lip painted fuller than top lip.
1960 Lipless look.
Emphasis on the eyes painted dark
while the mouth was left very pale.
Design and apply creative makeup
1955 Mandarin look
1948 Patches.
The make-up fashion began in the
16th century and became fashionable
in 1948. They were symbol of a
beauty spot.
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Film makeup
The difference between stage makeup, fantasy makeup and movie character makeup is that movie character makeup
has to look realistic and natural while stage and fantasy makeup is dramatic, heavy and most times unrealistic. As movie
makeup is seen on the big screen in the movie theatres it has to be subtle and realistic in order for the audience to
believe in the story.
Australian feature movie.
Australia's most popular and longest-running comic strip was created in the
early 1920’s. In 1982 the movie Ginger Meggs tells a story of Ginger Meggs
adventures with the many characters that appeared in the cartoon series.
Movie makeup equipment includes;
Krylon, Derma Color, RCA or other make-up foundations that give
good coverage on the skin.
Make-up brushes, sponges etc.
Powders, eyeshadows, blushers, mascara, eye and lip pencils and
lipsticks .
False eyelashes, grease stick liners and water based pencils for special
effects.
Ginger Meggs - Filmed on location in country
N.S.W. – Australia
Circus presenter
Ginger’s mother
Trapezes artist
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Preparing the client for makeup application
Drape the client with a protective cape to prevent any makeup from spilling onto the client’s clothes. Adjust the
client’s chair so that your posture is straight, not bent over, when you are applying makeup. It is recommended that a
high stool with supporting back is best for the client.
Scope of practice and organisational procedures may refer to;
•Compliance with legislation relating to health and hygiene must be practiced at all times. Contact your local state
health department for specific requirements.
•Minimisation of waste and correct waste disposal.
•Ensuring client records are kept up to date.
•Reporting any incidents to authorised persons including insurance company if required.
•Following hygienic laundry procedures of soiled linen.
•Maintaining personal hygiene and presentation standards.
•Maintaining presentation standards of treatment areas.
•Allocating appropriate time for consultations and make-up applications.
•Addressing any adverse reactions caused by products.
•Referring client to other practitioners and provide client with a diagnosis of contraindications if applicable.
Factors that may influence the application of makeup.
• Face shapes and facial features.
• Client skin undertones which include; pink, yellow, olive and brown.
• Effects of natural and artificial lighting.
• The design principles of colour using the colour wheel.
Four different skin tones - from left to right
Dark - Fair - Asian - Olive
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The colour wheel
There are three primary colours: RED, YELLOW and BLUE. Primary colours cannot be created by mixing other colours.
Secondary colours are colours produced by mixing two primary colours. The secondary colour is midway between the
two primaries. Mixing red with yellow will produce orange. Mixing blue with yellow will produce green and mixing red
with blue will produce violet.
Tertiary colours are colours produced by mixing a primary colour with one of its secondary colours. Mixing red with
orange produces a red orange. Mixing blue with green produces a blue green. Mixing yellow with orange produces a
yellow orange.
If this colour line is bent it will form the colour wheel.
A tint of a colour is when white is added to that colour.
A shade of a colour is when black is added to that colour.
A tone of a colour is a when black and white is added to that colour.
A hue refers to the pure spectrum colours.
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Colour temperature
The colour wheel shows the progression of warm to cool colours which is used by the make-up artist.
•Cool colours are blue, green and violet.
•Warm colours are red, orange and yellow.
•Blue violet is a warm blue as it has some red content.
•Yellow green is a cool yellow as it has some blue content.
•Red orange is a warm red as it has no blue in it.
•Red violet is a cool red as it has blue in it.
In summary;
•A warm skin undertone looks good in apricots, yellow, green and rust.
•A cool skin undertone looks good in blue, pink, silver and grey.
Factors that may influence the application of make-up.
• Facial shapes and their relationship to elements and principles
of makeup design.
• Effects of natural light and artificial light on cosmetics.
• Colour design principles being colour wheel, primary,
secondary, tertiary, complementary and grey scale colours and
tonal value, hue and shade.
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Contraindications to makeup application
Before you begin any makeup application, you should be aware of any skin problems that may cause concern to you
and the client if you applied makeup.
Non-contagious conditions on the skin.
These conditions do not prevent you from applying makeup however discuss the condition with the client and only
proceed if they give you permission. If necessary advise client to see a doctor.
•Sunburn.
•Bruises, cuts, scarring and tattoos.
Referring condition for treatment.
•Dermatitis, Eczema and warts.
Some clients may have been recommended to you
•Seborrhoea (excessive oiliness).
by specialists or you may need to recommend
•Acne Vulgaris (severe acne).
clients to seek professional advice.
•Varicose veins.
•Psoriasis (red patches on the skin with dry silvery scales).
You have a choice of;
•Uneven and abnormal pigmentation on the skin.
•Medical doctor.
•Allergic reactions.
•Dermatologist
•Cosmetic and recent surgery.
•Cosmetic surgeon.
•Injectable, intense pulsed light and laser.
•Occupational therapist.
•Social worker.
Contagious conditions on the skin.
The conditions below will prevent you from applying make-up. •Manufacturer of special products.
•Bacterial, fungal, parasitic and viral infections
Symptoms of allergies to products.
•Herpes simplex (cold sores).
• Red and itchy eyes.
•Fungal weeping sores.
• Itchy skin.
•Eye infections.
• Skin irritation.
•Ringworm.
• Skin redness.
Scabies.
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Identify skin types
Skin types are categories that are used to identify the structure and condition of a person’s facial skin. Each skin type
shares common characteristics that define its category.
Normal skin type have a natural balance of oil and water which means skin is;
•Not too oily or too dry.
•Smooth and supple.
•An even texture.
Combination skin type have too much oil in the ‘T-zone’ area and usually not enough oil on the cheeks.
•An oily forehead, nose and chin area is known as the ‘T-zone’.
•Cheeks can be normal, dehydrated/sensitive or even dry.
•‘T-zone’ may have enlarged pores, blackheads and pimples.
•Redness and a stretched appearance on cheeks indicates sensitivity and dehydration.
Dry and mature skin types lack oil and moisture deep down that can result in;
•Skin feeling tight.
•Parched, stretched texture.
•Flakiness on the cheeks.
•No apparent oiliness or pimples.
•Visible lines and wrinkles.
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Dehydrated skin
Dehydrated and sensitive skin types lack moisture in the skin’s surface that can result in;
•Skin feeling slightly tight.
•A parched texture.
•Fine facial lines.
•Redness on cheeks (couperose).
Oily and blemished skin types have an excess of oil secretion that is generally evident by;
•A greasy, course texture.
•Enlarged pores.
•Blackheads and whiteheads.
•Pimples or acne.
Health and safety in makeup application.
Contagious conditions and infections can be spread through the air, personal contact or blood.
•Wear personal protective clothing such as gloves if required.
•Wash hands after bathroom, or using a nasal tissue.
•Use spatulas whenever possible.
•Decant makeup products and dispose of left-over items according to work place policies and procedures.
•Avoid contact with broken skin, sores or blood.
•Use clean brushes around eyes and mouth to reduce cross infection.
•Maintain and clean equipment after every client. Wash, disinfect and dry equipment used.
•Use disposable supplies if possible.
•Keep clean items separate from used ones.
•Avoid bending over the client for a long period of time. Have a stool at the right height to reduce physical discomfort.
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Consulting with the client
A makeup artist’s job is to enhance the client’s image to the best of their ability. Clients want you to create an image
that will appeal to them. This requires you to consult with the client on what look they are wanting.
1.
2.
3.
4.
5.
6.
7.
8.
9.
Ensure your personal presentation is appropriate.
Be warm and friendly.
Listen to your client.
Use eye contact.
Show a genuine interest in what they are wanting.
Know your products.
Speak well, choosing your words carefully.
Explain what you are doing so the client understands.
Do not be too pushy.
Some cosmetics may contain chemicals.
•Preservatives and anti-caking agents.
•Thickeners and waxes.
•Solvents.
•Synthetic colour additives.
Adverse reactions to products.
Should a client have a reaction to a product you have applied on their skin, wash the skin immediately and do not
proceed. Should it be necessary, refer the client to a medical doctor.
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Female face shapes
Pear.
Jawbone protrudes
more than forehead
Oval.
Egg shape
Heart.
Pointy chin with a
heart shape hairline
Diamond.
Pointy forehead
with pointy chin
Round.
Wide as it is long
Square.
Sides of cheekbone down
to jawbone are straight
Design and apply creative makeup
Oblong.
Long and thin
Triangle.
Wide forehead
with pointy chin
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Male face shape
Oblong.
Long and thin
Triangle.
Wide forehead with
pointy chin
Diamond.
Pointy forehead with
pointy chin
Oval.
Egg shape
Pear.
Jawbone protrudes more than
forehead
Square.
Sides of cheekbone down to
jawbone are straight
Round.
Wide as it is long
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Male and female body shapes
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Contouring in makeup
A shadow colour, which is darker than the foundation, is applied if you want to recede an area. Most times you need
to apply a light colour either side of the shadow colour to give a natural look to the makeup.
A highlight colour is lighter than the foundation. If you need to emphasise an area, apply a highlight colour.
Bones of the face
Muscles of the face
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Lighting and its effects on makeup
Lighting, whether that be indoor or outdoor, directly affects how makeup appears in photographs. Light gives the feel to
a photograph.
•Daylight is the clearest and is the best for true colour for makeup. The colour blue dominates in daylight, however this
depends on whether it is morning, noon or afternoon. Large areas of open sky and water will also add reflected light to
the photograph.
•Filament bulbs produce a warm, yellow/orange light.
•Fluorescent globes produce a cold, blue/green light.
•Spotlights produce a blue/white light, which makes everything appear pale.
•Halogen bulbs produce a very white light, bleaching out colours.
Different intensities of light can cause makeup to fade, darken or change colour. The use of different filters and
reflectors also alter the light effects. The direction of the light source also creates different effects on the makeup
design. Lighting from above, from ground level, from the sides and any combination of these as well as back lighting, all
create completely different effects by lighting and shadowing different parts of the face. The distance of the light source
from the client also has an impact on the makeup deign.
Evaluating the makeup service.
You need to ensure that the makeup results are exactly what was discussed prior to commencing the task. If not you
must make the changes until it reaches the image standards required. You can complete a coloured drawing with
instructions or take photographic evidence of the makeup application for future reference. Recommend products or
beauty treatments to the client after completion of the service.
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Makeup plan template
Draw the image applied.
Image required:................................................................
Date:................................................................................
Foundation:........................................................
Blusher:........................................................................
Lip stick:..........................................................................
Lip pencil:........................................................................
Contouring required:........................................................
Eye makeup products:...................................................
..........................................................................................
..........................................................................................
Additional notes:.............................................................
Aftercare advice provided:...........................................
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Sustainability
Sustainability is the ability to maintain a certain status or process in existing systems. The most frequent use of the term
sustainability, is connected to biological or human systems in the context of ecology. The ability of an ecosystem to
function and maintain productivity for a prolonged period is also sustainability.
Sustainability in general refers to the property of being sustainable. The widely accepted definition of sustainability or
sustainable development was given by World Commission on Environment and Development in 1987. It defined
sustainable development as "forms of progress that meet the needs of the present without compromising the ability of
future generations to meet their needs.“
Practically, sustainability refers to three broad themes, economic, social and environmental, that must all be
coordinated and addressed to ensure the long term viability of a community and the planet.
The primary goal of sustainable is using renewable natural resources in a manner that does not eliminate or degrade
them or otherwise diminish their usefulness for future generations.
Sustainable work practices;
•Safe disposal of all waste materials to minimise negative impact on the environment.
•Efficient use of energy, water and other resources used to minimise negative impact on the environment.
•Ensuring the practice of waste minimisation and recycling is conducted to reduce impact on the environment.
•Comparing availability of products, equipment and services and adjusting their use to minimise negative impact on the
environment.
This completes the learning material for this unit.
Authors copyright is claimed in all forms of media. Moral rights are claimed in all forms of media. Intellectual property rights are asserted and maintained in all forms of media.
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