The Props Table

If consumables are used in a performance, the Props Designer is responsible for obtaining a purchase order, check, or petty cash from the Department Administrative Assistant and making arrangements for purchase (see Petty Cash policy ). Props Designer consults with the Director of the production regarding when consumables should first be used in rehearsals. Props Crew notifies the Props Designer when restocking is necessary. During the rehearsal period, the Props Crew behaves as any other crew (electrics, paint, set construction, etc.) in attending work calls held by the Props Designer These work calls may include building or shopping for props.

Set decoration can and should be really rich and detail-oriented,” he says of his affinity for putting the intimate touches on scenery. “It can be a major contributor to the effect that the play has,” he says. Other props departments throughout the country have shops that are variations on Guy’s setup at Milwaukee Rep, but not all have the budgets to retain such diverse staff. In smaller shops the props master has a very hands-on job. Before the end of the semester the props master must turn in their paperwork package as defined and discussed with the faculty props designer.

Prop Masters

Ms. Erdman knows from bodily fluids. As a freelance props master (or “prop tart,” as she calls herself), her job is to buy furniture, make accessories, whip up batches of blood or do whatever else it takes to make sets look and feel as authentic as possible. Ms. Erdman was one of about 50 props people who gathered on Friday night at the Public Theater for an informal meeting that gave attendees a chance to network, watch demonstrations and exchange insider tips on the latest techniques in an area of theatrical design that often goes unnoticed and unheralded.

The Props Master should be at strike. The Props Crew Chief, Crew and other volunteers may be there helping, but it is primarily the PM’s job to make sure every prop is struck and returned to the correct location. This is important because only the PM knows which items were borrowed and they have the best feel for what items are not worth keeping for future shows. The PM is also responsible for removing all labels from prop tables and throwing out all trash in the prop area. If there was any food in the show, this should be disposed of. NO food should be left in RLT refridgerators.

Sets And Stages

Star Wars, Batman, Superman, and Lord of the Rings all meet under one roof for the movie or TV prop you’ve been craving! Even if you’re looking to make your own film, try our photography props! Whatever vision you have, these photo studio props are as ready for action as you are. Snazz up your next Halloween party, film set, or even just your living room with our great selection of props that look as lifelike as the real thing. It’s almost like you’re there! Custom 2D and 3D props creations for movie sets and theaters, theme parks, weddings and events, museum displays, signs, art and decor.

The pictures we receive will be posted into our brand new Rosco Scenic Resource Gallery and, in some cases, might get featured in Rosco’s marketing to scenic customers all over the world. A props artisan at the Alley Theatre named Haley Polak shared her work with us and was not only featured in a Rosco Spectrum blog post , but also in an email blast that we sent to our databases of theatre, display and event professionals. This not only gave recognition to Ms. Polak’s scenic accomplishments, it also gave her venue some excellent publicity.

About Stage Props

The Props Master should ask lots of questions of the Director about specifications for the props. A list of required props should be made available early on in the rehearsal process, preferably during the first two weeks of rehearsals. Please note, however, that a play is an ongoing creative process and the need for new props will be made up to and in some cases during Tech Week. Schedule a time early in the production cycle with the Director and Scenic Designer to review the prop list and discuss matters related the visual look of the show and their design concepts.

Personal props are props worn or carried by a particular actor and issued to him rather than stored on the prop table. For participating ACTF productions, the Props Designer will assist the Prop Shop Student Manager , and Staff Production Manager/Technical Director in storing props for possible travel to festival. Obtains and maintains any rehearsal props called for by the Director by the “Rehearsal Props Due” deadline on the Department Calendar Rehearsal props are substitutes of comparable size and weight used by actors until the final props are available. Once usage was established, we documented all of the pieces in a prop book which was given to the prop mistress.

Miller And Campbell Costume Service

In terms of blush application, reds and links tend to show up best. Smile and then apply to the apples of your cheeks, sweeping color upwards. Theatrical makeup tips for eyes include using natural tones such as browns, tans and nude pinks. Steer away from unnatural colors unless you want that extra pizazz. Start with a light skin tone and cover the area of skin below your brow, then apply a medium shade of brown on your eyelid. Then line the crease with a darker brown and line your tear duct with a white shade.

Even so, I was reluctant to put heavy make-up on my girl. I didn’t want her to look like some tot on Toddlers & Tiaras, and we settled on some lip gloss. I’ll admit that I did think about putting more stuff on her face, but she has a history of eczema outbreaks at the slightest allergen, and I figured it wasn’t worth it to risk an attack of eczema for one show. As it was, she had a runny nose and seemed to already be coming down with something, so I erred on the side of caution.

Westmore later started the first ever movie make up department and taught his four eldest sons the techniques of the profession. Later on his two younger sons also worked as make up artist. Westmore committed suicide in 1931, but his legacy did not go with him. His sons continued to be hugely successful in the make up industry, in roles such as make up chief at Paramount, head of make up at Warner Bros, and head of Universal. His grandchildren also worked in the industry. Every major film studio was touched by the Westmore family, and their role in film make up cannot be underestimated.

The arrival of television created new makeup problems. Light complexions looked ghostly, and dark complexions dirty. Street makeup on women either disappeared or looked dark or dowdy. Some of the colour makeup mixtures that had been developed for motion-picture makeup proved satisfactory, but others had to be modified. New problems arose when colour television came into use. A green dress might appear blue on a colour television screen and no harm was done; but a face that under lights looked natural to the human eye might be televised as green.

The American Backstage Company — Theatrical Makeup

Technicolor had been in existence since 1916 but its high cost and technical limitations had made it difficult to sell to the studios. However, by the 1930s, the Technicolor Corporation had developed a new three-strip process using a special camera to record red, green and blue light on three separate negatives. In 1932, Whitney invested in the Technicolor Corporation and then co-founded Pioneer Pictures in 1933 to produce Technicolor pictures using the new process. Pioneer Pictures produced the first three-strip Technicolor short film ‘La Cucaracha’ in 1934 and the first three-strip Technicolor feature film ‘Becky Sharp’ in 1935.

If your own facial features allow, the upper areas of Planes 1 and 2 may be strongly highlighted, fading down to a medium shadow on the lower parts of 1 and 2, with a deep shadow on 3. This gives the illusion that the upper teeth are missing. Blackening your own upper teeth enhances the illusion. The opposite, highlighting the lower part of 1 and 2, fading into the foundation as you approach the nose, makes the upper lip protrude. The crease angling down from the mouth corners should be treated like the nasolabial folds, but use a finer brush.

Stippling is a method for applying makeup by gently pressing the color onto the skin with various textured sponges that are rough and large-pored. The pattern created by the pores adds texture without concealing what is underneath. It is used for toning down highlights and shadows that are too strong, for giving texture to the skin, for adding “blemishes” or “freckles,” and for concealing the edges of add-ons (false noses, bald caps, eyebrow covers) by breaking up the tiny line of shadow created by the edge of the false piece. It is also very a very effective way to create stubble for that “5 ‘clock shadow” look.

More Makeup

Highlights and shadows should be about three shades lighter or darker than the base, although intense light or dark paints may be required to create strong highlights or shadows. Apply them over the foundation with brushes or crayons. For small areas, like wrinkles, 1/8 to 1/4 inch flat synthetic sable brushes are useful. Larger areas require a 1/2 to 5/8 inch brush. Pointed brushes are used only for the smallest details. Crayons should be sharpened into a tent shape. The sharp edge is particularly efficient for making hard-edged highlights, such as creases. For an even finer point and to keep the line from smudging, refrigerate the crayons before sharpening.

With old age your nose is bigger. It’s unfortunate, but true. I’m making my nose wider and my nostrils bigger. To make wider you highlight down the nose, and the whole front portion of the nose. To make nostrils bigger, you highlight those as well, all the way to the crease where you nose and cheeks meet. Add shadow to the sides of your nose, draw a line right up next to the highlight and blend out to the cheeks into your foundation. For the nostrils, follow the natural curve, but just outside the actual crease to enlarge them.

A picture or sketch of the outfit or look you need to emulate may be the initially thing you may will need. When you are trying to gown up as an animal or object instead of a person, you are going to also need to decide what type of costume you prefer. As an example in the event you intend to be a canine, full-body costumes created with fake fur are adorable, but may be also very hot or uncomfortable for some. A leotard and tights or perhaps a sweat suit with fabric-paint spots may possibly make an incredible alternative.

Stippling is a method for applying makeup by gently pressing the color onto the skin with various textured sponges that are rough and large-pored. The pattern created by the pores adds texture without concealing what is underneath. It is used for toning down highlights and shadows that are too strong, for giving texture to the skin, for adding “blemishes” or “freckles,” and for concealing the edges of add-ons (false noses, bald caps, eyebrow covers) by breaking up the tiny line of shadow created by the edge of the false piece. It is also very a very effective way to create stubble for that “5 ‘clock shadow” look.

Jokesters Stage Makeup

Highlights and shadows should be about three shades lighter or darker than the base, although intense light or dark paints may be required to create strong highlights or shadows. Apply them over the foundation with brushes or crayons. For small areas, like wrinkles, 1/8 to 1/4 inch flat synthetic sable brushes are useful. Larger areas require a 1/2 to 5/8 inch brush. Pointed brushes are used only for the smallest details. Crayons should be sharpened into a tent shape. The sharp edge is particularly efficient for making hard-edged highlights, such as creases. For an even finer point and to keep the line from smudging, refrigerate the crayons before sharpening.

Stippling is a method for applying makeup by gently pressing the color onto the skin with various textured sponges that are rough and large-pored. The pattern created by the pores adds texture without concealing what is underneath. It is used for toning down highlights and shadows that are too strong, for giving texture to the skin, for adding “blemishes” or “freckles,” and for concealing the edges of add-ons (false noses, bald caps, eyebrow covers) by breaking up the tiny line of shadow created by the edge of the false piece. It is also very a very effective way to create stubble for that “5 ‘clock shadow” look.

To achieve the illusion of age, shadow Plane 1 and highlight 3, blending through Plane 2. Put a strong highlight on 3A, and shadow on the lower edge of 3B to give the appearance of sagging. All of Plane 3 may be shadowed and the eyelid (4) highlighted for “sunken” eyes. Wrinkles that fan out over 3B may be modeled like the forehead wrinkles, but with a finer brush. Normally, we put eyeshadow near the eyelashes on Plane 4, but don’t do that for an aged appearance. A little red around the edge of the eye gives the impression of tiredness or crying.

How is this a theatrical makeup trick? We use the “younger” tricks to make people look as young as the character they are playing, up to 10 years younger; we use the “do not” list above to make someone look 10 or 20 years older than they actually are, or in the case of red-based like they were up all night, or crying. Lining the inner bottom lash line in light blue, using a little green and yellow shadow around the outer edge of the eye, and smudging a little red based violet in the lash line does wonders to make a character look like a battered wife.

More on Costume Makeup

For hair color needs, we now carry and recommend Jerome Russell hair color items. This brand is the best we have found – it gives better coverage, washes out better, and stains less than other brands. We have many colors and several types types of “spray in/wash out” temporary colors that come out after one shampoo. We also have the popular sparkle sprays for hair, which can take more than one shampoo to remove completely. Jerome Russell’s “punky colour” line is semi-permanent and these outrageous colors are also very popular. Our customers also seem to like the spray on hair color thickener for thinning hair.

Even so, I was reluctant to put heavy make-up on my girl. I didn’t want her to look like some tot on Toddlers & Tiaras, and we settled on some lip gloss. I’ll admit that I did think about putting more stuff on her face, but she has a history of eczema outbreaks at the slightest allergen, and I figured it wasn’t worth it to risk an attack of eczema for one show. As it was, she had a runny nose and seemed to already be coming down with something, so I erred on the side of caution.

Many dancers brave the downsides to achieve a more glamorous visage. To optimize the effect of those extra lashes, Madonia recommends that dancers put a small gob of glue on the back of the hand and gently swipe the lash edge through it so you get a minimal amount on the lash. As you apply from the inside of the top lid out, place the outer edge of the lash in a straight line instead of on the natural slope (as you might assume), and leave a little space between the lash and your real lash line. Fill in that gap with black liner.

GREASEPAINT!!

For just about any type of face design you will need at a minimum white greasepaint foundation and a black greasepaint pencil, but of course there are many colors in between and you will probably want to try at least a few of them. The leading producers of grease makeup are Mehron and Ben Nye. Mehron grease makeup is focused on the theatrical professionals who want ease of application with good coverage. Ben Nye also appeals to the same community, although Ben Nye grease makeup is actually a cream. Grease face makeup comes in a range of forms, from palettes (generally sold as a kit), to individual liners.