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As the years speed ahead so does the technology and the materials available to us as make-up artists. One such material is 3rd Degree made by Alcone. You will remember it as the material used to create Heath Ledger's smile in Batman - The Dark Knight.

I was first introduced to the material when I returned to teaching just this past year and found it great for scratch builds for burns and quick casualty simulations. Then when we started work on our second book Reel Characters, I used it to do a new take on a Terminator make-up and a few other additions such as ear tips for a demon I made out of kit.

For those of you not familiar with the material, and I do suggest you check it out; it is a two part silicone that you mix 50% of A&B and apply directly to an actors or models skin. It can be blended and shaped with a brush or tool and 99% Isopropyl Alcohol. It comes in three skin shades; there is a clear, a blood colour and an ice blend that I used to create icicles dangling from a model's ear lobes.

Be aware you have five minutes to work the material before it kicks so I recommend small batches while you get used to handling it. The great thing is you can build upon what ever you are working on so separation is not a problem. It can be coloured with the alcohol based palettes and you can also colour it intrinsically adding pigment while you mix, be it flocking, air brush paint and so on. When you finish you can remove the pieces at the end of the day and then reuse them if necessary.

When applying the 3rd Degree be aware of placement. Areas involving a lot of movement will work the material free after a while and you will be forced to reattach it with Pros-Aide or a silicon adhesive. Also removal will mean repainting, as once flexed, much of the external colour comes off. There are other materials out there like it, but 3rd Degree is worth giving a try. For those of you on a tight budget a little goes a long way and as I mentioned you can reuse your pieces.

Out of kit work has never been better, so look around and experiment with all the new materials available. You can go from an unknown to overnight hero elevating production value to no budget shows and upping your reputation and demand in the process. So look around you, and live a life inspired by making the best of everything available, and I guarantee you will be among the best there is in the process.

by Randy Daudlin

To succeed in this fast paced business you must be dedicated and quick thinking. To make rational decisions you have to be informed and to be informed you have to ask questions.

If you have not already realized, a good make-up artist includes being an investigator, a researcher and a consultant. All of this takes place before you even touch a make-up brush. It does not matter the medium you are working in, everything starts with a concept or a script. It is at this burgeoning part of any production where you must ask the crucial questions, so you can make the critical decisions, which affect what you and a number of other people will do next.

You are an investigator because you must seek out information from a number of sources such as the Director or Producers. You must know the conditions under which the make-up will be presented; is it cold of winter or the blazing heat of summer? Is the location a dark room or an exterior night? Is it a brightly lit room or an exterior day? Is it raining? Are the characters involved in a relaxed state or is there physical action such as running, fighting and so on? You also need to know how it will be covered - in wide, medium or extreme close-up.

You are a researcher because after asking the questions as an investigator, you need to know what materials will endure the rigors of the project you are about to become a part of. As a researcher, you will have gathered reference material also know as a morgue.

A morgue is a collection of reference pictures. They can come from any source be it sports magazines, newspapers, medical texts, even the internet.

Lastly, you are a consultant because you will advise the production as to what will work best for the time, money and action they have planned for their project.

Often the answers are obvious. Many times with a little prompting, you can learn so much more. That first impression you make will be a positive one that will secure your position and many more to come. Every project is personal for the people that hire you and in particular for you. Every make-up assignment you finish is your legacy to be remembered for all time. Each time it will be a different experience. I can only hope you will strive to embellish upon and perfect.

by Randy Daudlin

As a make-up artist you are now considered a service provider and everyone knows those who provide the best service tend to keep working. If you are having trouble jump starting your career, or have been out in the market for a while and things are not picking up, here are a few tips that might make a difference. Although I may make more references towards the film and television industry, these rules apply to everyone working, be it in commercials, music videos, theatre and print.

1 - Always arrive at least fifteen minutes before a call time. Punctuality tells a lot about a person. Starting out, you want to make a great first impression and this will be a big one. It tells your employer that you are passionate about your craft and care about the job you have been hired to do. The time is used to set up your work station, review the days work and ask any needed questions before any talent arrives. It also allows you time to focus, grab a coffee and maybe a quick bite. Nerves do funny things to the insides of ones stomach. It is a good idea to settle them with some food. You might not be able to smell your breath but the people in your chair will. After all, that is why they call it the most important meal of the day. If you need them, choose mints over gum.

2 - Wear work appropriate, clean clothing and sensible shoes. You want to be recognized for your work not the clothes or lack of clothes on your back. Revealing or profane attire is not the wisest of choices. Also, be aware that your fondness for tattoos and many piercings may not be appreciated by all so cover up or remove what you can. In film and television the shooting day runs roughly twelve hours not including pre-calls and the clean up at the end of the day. Most studios have cement floors that are stressful on your knees and lower back. A simple trick to save them is to bring a change of shoes and socks. At lunch switch to the new pairs and you will be amazed what some fresh padding and a chance for your feet to breathe will do. Also, if you are working on location, bring your own rain boots and slicker. If it is winter, have gloves and a coat that covers your behind, plus boots with rubber soles for standing in slush for countless hours. It is not the wardrobe department's job to dress you. Producers will want to know why you are wearing the talent's gear and that is not a good thing.

3 - Speak when spoken to and the rest of the time observe and be quiet. Your function is to accommodate the talent as best as you can with the time and resources allotted to you. That means get them in and out of your chair as politely but quickly as you can. You find there are two types of people, those who like to talk and those who prefer quiet. For the talkers, be engaging but do not get involved with their personal drama or involve them in yours. A straight make-up on a woman should take forty-five minutes at most and for a male the process should be no more than twenty minutes. Remember, hair still needs to process them as well. You will be the first people to see the talent at the top of the day. They have to leave your chair happy even if they did not arrive that way. You set the mood for the whole work day for the rest of the crew. If it starts bad it will not take long to establish who the culprit was and you do not want it to be you. On set, the microphones the sound department uses are very sensitive. Keep comments to yourself when the cameras are rolling.

4 - Touch ups do not mean make-over after every cut. Men usually do not like a lot of fussing over, so when you approach them there should be a good reason. Women, it is all about lips and eyes. Have a mirror and a lash curler ready, and most of the time that's all that is needed. Remember you are asking a total stranger to trust you to make them look good and to maintain that for however long the shoot is day in and day out. The only way you are going to earn that is to listen to their needs and stay on top of your job. Also, if you can do something on set like a black eye or a minor effect, do it there. Try and accommodate the production and not jamb them up by wasting time dragging talent back to the trucks or off location. Directors, producers and anyone of authority will notice and it will be remembered. That is how you get called back or referred for other jobs, so always be prepared for the unexpected. An FX Palette and some blood should always travel with you. Take pictures of your work and refer to them. It is not the script supervisor or continuity person's job to do this for you.

5 - Respect the chain of command. If you have a problem with an actor or crew member you discretely go to your Key or the head of the department. If you cannot, go to the production manager or line producer. The producer would be your final destination if all others do not work out. You can also go to the crew rep; on most features a member of the crew is elected to be the voice and air beefs. If you need to speak to the director go to the 1st AD. He or she will determine if your request needs the director's attention. If you need to look through the camera lenses ask the camera operator or the director of photography. The same goes if you have an actor that is self conscious about some aspect of their face. Mention it to the director of photography and he or she will adjust the lighting to assist you or will try to favour the best side of the actor. It is in their best interest to keep the talent looking good and happy as well. Do not touch wardrobe or hair unless invited to do so. They are not your departments and if you change anything it could affect continuity. If you must adjust something take a picture and give them a copy. Never place your kit on the camera or sound cart. They have very expensive gear and you will be told only once. Keep your kit with you and it can never get lost. If there is a problem in the schedule or with call times for actors talk to the 2nd AD; they make up the schedule with the 1st AD. Make friends with the 3rd AD or trailer tad. Always give them accurate time estimates and they will try and buy you time by running interference when set gets anxious to start shooting.

6 - Know you rights. You do make-up; you do not cut hair unless you have a license to do so. It puts you and the production in a position to be sued as well as gives the insurance company the excuse they need to cancel the policy on the production should anything go wrong. You do not put in contact lenses nor are they your responsibility. An Ocular Technician has a certificate that makes them legally qualified. They have been trained to assist with the placing and removing of contact lenses as well as proper storage and care for them. You again could spread eye disease; scratch a cornea or even blind an actor. Not the way to end one's career because the production will be looking for a person to blame and if you are involved it will be you.

All in all, take care of yourself physically by taking vitamins, watching your diet and try and get some sort of exercise if possible. You do not get paid if you do not work and miss more than a few days and you will be replaced. Be aware of your kit and station by keeping both clean and tidy and dispensing make-up hygienically. Ask about allergies, be pleasant and stay on top of your job. Do not be the first to bolt for the door at the end of the work day, help where you can become part of the team. A little good will goes a long way. Do your job and do it well and you will keep working, do not and you already know the answer.

by Randy Daudlin

When my wife suggested make-up as a career, twenty-six years ago, there where few schools to choose from at that time. Since then, several have opened in every major city across North America; one of the many off-shoots of the multi-billion dollar industry.

I myself have never gone to an official school and had to go through the expense of learning by trial and error. As the industry evolved I found at one point I had to take a few classes to modify my skills so I could keep current and employable in the ever changing business. In the last fifteen years, I have had the opportunity teach for a number of them and even designed a few curriculums. Like any new endeavor you have to do some research before deciding which school best suits your personal needs.

If you have no prior experience many offer a six to eight month blanket course which covers most facets of the make-up industry in general. There is bridal, fashion, television & film, out of kit make-up effects, special effects which would encompass prosthetics and a small segment on hair. These courses were created to help you, as a potential student, to decide which area you would like to specialize in. No make-up course qualifies you to be an expert, it is only by extensive practice and experience do you acquire those credentials. Until someone actually pays you for your craft, you are only practicing.

Here are a few things to consider and to enquire about before making a final decision:

Who Is The Instructor and How Long Have They Worked in the Industry?
Any legitimate school will offer up the instructor's credentials or a site where they can be found. You would want a teacher with at least five years professional working experience. In that time they would have honed their craft and would be current with what is happening in the industry. Part of their job is to help you to follow in their footsteps and secure your own position. Some schools recycle graduating students who were top of their class in order to keep costs down. These should be avoided.

If You Have Prior Experience or Have Decided on a Direction, Can You Take Only Classes That Pertain to That Field?
Some schools have an all or nothing policy. These institutions are more interested in lightening your wallet than helping you attain your goals. If you are interested in pursuing a career in special effects make-up you are not required to know bridal or fashion make-up to apply prosthetics.

That said, if you are interested in out of kit make-up effects for film and television it would be advantageous to have a background in straight make-up to better understand what you are doing. Remember every show has straight or normal make-up not every show has make-up effects. Your ultimate goal is to stay employed and the more you know or broader your skill set, the greater chance you have of securing a position and holding on to it. Many reality shows or non-union docu-drama reenactment series require you to do most everything, even hair. Due to budget restraints they must keep personnel down. In Europe it is standard to be able to do both hair and make-up. In North America the two skills have been separated; the trend is to now adopt the European ways. These are the shows that use new artists trying to break into the industry,

In the same respect someone seeking a career in fashion or bridal make-up should not be forced to endure out of kit make-up effects or special effects. If the school is a business that cares about helping you they will have or adapt a package that works for you.

What Does a Typical Course Encompass?
Every course should be divided into a two part component of lecture and demonstration. Here the teacher discusses the make-up in detail explaining technique and products. Then they demonstrate the look using the aforementioned techniques and products. Afterwards the students are required to physically reproduce the look under the instructor's supervision. I have never met anyone who could learn by osmosis. You truly have to experience the work to understand it, and only by repeated execution will it be perfected.

Will Taking This Couse or Courses Guarantee Me Entrance into a Union or Employment?
The obvious answer is NO. To enter any union you must first log a certain amount of hours as a daily permit artist so the members can meet you and see how you conduct yourself on set as well as check your work. After this period you may be invited to take the trade test for your category. This you will have to pay for and if you fail the fee is non-refundable. The point of it is to ensure that your skills are at the professional level required and you have reached the maturity and confidence to work on the multi-budgeted productions.

While some schools may be involved with placing students on volunteer projects, or field calls for student films, music videos and the likes, none are employment agencies. That is your job and one that will continue until the day you decide to retire.


In truth when seeking a make-up job your choice of school has little bearing under most circumstances. You will be judged on the quality of your work presented in your portfolio. (Note I said quality not quantity.) That combined with your personal appearance, confidence and attitude will be what ultimately lands you the position. If seeking a career in television or film, consider that with the advent of HD it is even more important that you master your technique. For as it has always been and will continue to be, time is money. So not only do you have to be good, you must be quick.

by Randy Daudlin

If you have been doing professional make-up or learning about make-up effects you will have used or are about to use this medical adhesive.

For 30 years Pros-Aide® adhesive has been the worldwide industry standard for use in the professional medical prosthetics and special make-up effects industries. Introduced to the film industry by special effects pioneer Dick Smith it has been used by many Academy Award winners in the category of "special effects make-up". In 2008 Christien Tinsley won a "Scientific & Technical" Academy Award for the development of the 3D Pros-Aide® transfer.

Pros-Aide® is specifically formulated for sensitive skin and is non-irritating. If you are green conscious Pros-Aide® products are water-based and completely safe. A milky white adhesive, it dries clear and gives an absolute waterproof bond to all skin surfaces.

I am a huge fan of this product and ADM Tronics Unlimited Inc. the company that manufactures it and a line of related products. You could not ask for nicer people to deal with and they stand behind their products. I do a lot of make-up effects and use Pros-Aide® as my choice of adhesive to glue prosthetics, hair pieces and a few things they may not have thought to use it for. When it comes to out of kit make-up effects I thicken the adhesive with Cab-o-sil, a fumed silica dust, until it becomes a thick paste. Then with a brush and water I free hand sculpt and build anything from animal muzzles, to 3D wounds. From trauma make-up to character make-ups you can do it all. Once dried, the adhesive can be coloured with just about any make-up on the market and works extremely well with alcohol activated paint palettes.

This company listens to the working artist and tries to accommodate our needs as is reflected in their line of products.

Pros-Aide® Adhesive "The Original", if you want a bond that lasts this is the glue to use.

Pros-Aide® II Adhesive "The Sequel", was developed to help eliminate the difficulty of removing Pros-Aide® "The Original" from the skin. It has all the similar characteristics except that many solvents and cleaners will break it down more easily. When applying a prosthetic you can position the piece on the tacky surface then reposition it quite easily. Once satisfied with the placement press the piece down for that lasting secure hold.

Pros-Aide® Cream is a thick Pros-Aide® adhesive excellent for filling seams or gaps in appliances and is also great for repairs. Pros-Aide® Cream does not contain any artificial filler to make it thick yet has the properties of Pros-Aide® at heavy viscosity. In this form it saves time in the manufacturing of Pros-Aide® transfers. Easy to use and easy to make, they are nothing more than Pros-Aide® adhesive that has been thickened by reducing the moisture content, frozen, thawed and dried in a vegetable dehydrator. You can colour the Pros-Aide® with flocking, or with a bit of pigment, food colouring, powder etc. Experiment to find out what material works best for you.

The last product I have to mention is Pros-Aide® No-Tack. It has all the properties of "The Original" but with less tackiness.

When it comes to colouring prosthetics nothing beats PAX TM Paint. This is a combination of water based colours mixed with Pros-Aide®. PAX TM Paint is a flexible colour with high bond strengths used for the skin and many surfaces. The Pros-Aide® No-Tack is great for this, significantly reducing the stickiness or tack after the paint has dried. Just like "The Original", Pros-Aide® No-Tack has great adhesion, water resistance and flexibility.

Everyday new innovations in our industry are being made and these are some of the products helping with those advancements. If you have not tried them I highly recommend you do. They have helped make my job a lot easier and broadened my arsenal on set. If you want to learn more check out their site at www.ADMTronics.com.

by Randy Daudlin