The Art Of Make-Up:
The Eyes, Eyelashes, Eyebrows
The Arms, Hands, Fingers And Nails
The Feet And Legs
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The Eyes, Eyelashes, Eyebrows
( Originally Published Early 1900's )
Eyes.—The principal characteristics of the eye are form, size, brilliancy and color.
Regarding form, they may be round, almond-shaped (oriental), horizontal or protruding. Regarding size, they may be small or large. Regarding color, they may be gray, green, blue or dark.
Gray, green and blue are classed as belonging to blonde types, dark eyes to brunette types. But there are always exceptions.
In the make-up, the form of the eye, as well as the size, can be changed very easily. But the color cannot. The brilliancy of the eyes can be changed only through mimicry. Artificial preparations like atrophine are harmful and not very effective.
Kowalewski and a score of others think that :
Large, deep eyes denote intellect a Id melancholy ; small eyes indicate vivacity almond-shaped eyes indicate tenderness ; round eyes are a sign of stupidity and vice.
Lively and clear eyes are made by tracing a white line on the lower eyelid. In tire( and deep eyes, the ground color of the eyelids should be gray blue or dark blue.
Sleepy eyes (giving the impression of raising with difficulty) are obtained by darkening the corners of the eyes and tracing a white line in the middle of the upper eyelid.
Sick eyes can be obtained by tracing a red line on the lower eyelid. A perpendicular white line on the eyelids renders the eye stur id (as in idiots) . The eyes of a drunkard should give the impression of being red and swollen, therefore, plenty of red should be used.
The effect of blindness of one eye i ; obtained by making up one eye and neglecting the other.
To render an eye immovable, paste a piece of gauze on it ; cover it with ground color and make a circle in the center.
Blindness of both eyes is obtained similarly by pasting pieces of gauze over them
Tears are made with vaseline, but, preferably, collodium. They are applied on a completely finished make-up.
In fantastic parts, like witches or devils, a piece of silver or gold paper is pasted on the eyebrows. However, this is very seldom used.
In some comic parts, electric lamps are used to imitate the eyes. The battery is located some-where in the pocket of the costume. But I do not know of a character on the operatic stage that calls for this.
Eyelashes.—The form and work of the eye-lids is a very great factor in the expressions of the eye. Consequently, the eyelashes must be well cared for. Black grease paint, melted a little over the gas or a lighted match, should be applied to the eyelashes with a soft, pointed brush or lining stick. The amount is regulated by the richness of one's own eyelashes. He who possesses rich eyelashes will need less paint, and vice versa.
I have observed, especially among the ladies (singers and actresses), the use of a hairpin warmed on a match, with which they melt the grease paint and then apply it. This is not very practical and is very dangerous. There is nothing easier than to hurt the eye in a moment of nervousness, which is an unavoidable companion in a dressing room.
Eyebrows.—Usually people who have rich hair and beards have rich eyebrows. When necessity requires it, the eyebrows are made out of crêpe hair and are applied like wh skers or a beard. Artificial eyebrows can als( be purchased, but we must realize that this ki ad of eye-brow causes much inconvenience, as it compromises the freedom of expression of the forehead. When modeling them, use the same process, with the aid of a comb, as when modeling whiskers. Grease paints are much more advisable popular and practicable, and can be used in colors to correspond more closely with the color of the hair.
The curve and the right angle should be carefully observed. The artist can be greatly helped by studying these in the art galleries. The eye-brows are applied directly with the gr( ase paint stick, without the aid of pencils.
When a shaggy appearance is desired, brush the brows in the opposite direction, app- lying the grease paint.
Rich and united eyebrows give the face an expression of energy, courage and pal Ter. [2411
When exaggerated, they may indicate choleric, furious characters.
When one eyebrow is lower than the other it is an indication of astuteness.
Slightly rounded eyebrows give an expression of sweetness and tenderness to the face.
Very high and round eyebrows give an ex-pression of stupidity to the face and are used only in comic parts.
Eyebrows unnaturally raised at the outer ends are characteristic of suspicious, intrigante, and, sometimes, clever people.
A face without eyebrows is given an expression of the greatest stupidity and idiocy.
Clowns shave their eyebrows, then apply a perpendicular line between the eyes.
To obtain a savage expression, black paint should be applied the wrong way.
Old age is characterized by drooping eye-brows.
Oriental brows are similar to an almond-shaped eye (Mongolian) .
Mephistophelean eyes are turned upward at the outer corners.
When the effect of eyebrows meeting is de-sired, it is obtained by pasting a piece of crêpe hair between them, thereby giving a stern expression to the face.
Eyebrows that are raised at the star ing point (the nose), and then droop at the end denote a sense of beauty and an artistic temperament.
Eyebrows that are strongly marked it the beginning and that end abruptly indicate an im-patient nature.
Strong, angular eyebrows, close to the eyes, indicate productiveness and activity.
Eyebrows that are lighter than the hair indicate weakness and indecision; but eyebrows rows that are darker than the hair indicate an a: 'dent and passionate character. Eyebrows of the same color as the hair indicate firmness and resolution.