Makeup Artist, Educator, Diva Businesswoman, Mother, Beauty Writer for Black Elegance Magazine, National Spokeswoman for Interface Cosmetics, Member of IATSE Local 706, Member of the Academy of Motion Picture Arts and Sciences and the list goes on! A diva of all trades and a woman of excellence for September!

I had an inspirational interview with Marietta at her home in Los Angeles. Her home is warm and inviting, filled with photographs on every table with culture abounding in every square inch of her home. She holds fast to her roots as a native from the Caribbean Island of Barbados. She is a mother (among other things) of 4-and-a-half-year-old son Grégoire. Marietta keeps a full schedule as a working makeup artist in TV, film, print, commercial, and videos. Early in her career she toured as Natalie Cole’s personal wardrobe, hair and makeup artist. Now, Marietta’s reputation as a makeup artist has her celebrity clientele list overflowing! Her personal attention is requested by Samuel L. Jackson, Angela Bassett, Denzel Washington, Michelle Pfeiffer, and Cindy Crawford. Marietta’s passion is educating makeup artists on how to makeup women and men of color. She protests it’s not about skin color but undertones! She is a goal setter, never looks shabby on a job, represents the epitome of professionalism, is energetic, passionate, and an advocate about her job. (Which she insists is her money making hobby!) Marietta is a package deal with credentials and experience that will raise your eyebrows. She prefers to work smart not hard. Always seeking out knowledge in unknown areas, she is not someone who relies on hear say to develop her own trends or innovations. Read about this once pre-med student turned makeup artist’s career and you will be inspired, as I was.

Tell the Makeup Mania readers about your job as President of the Fred Segal Agency? How did you get involved in the business end of representing makeup artists in the industry?

I have been involved with the agency for about a year now. I started a company called Beaute´ 411 Inc., an agency that represents makeup artists, hairstylists, fashion stylists and photographers in March of 1998. My company, Beaute´ 411 created a base for the Fred Segal Agency. I took artists and developed them to their full potential. I cross-trained professionals from TV and film to the print world. I help artists develop books because a lot of them don’t have anything to represent their work. I feel really good about this aspect of the job because now some of the top artists’ in television have books and tear sheets that reflect their work. These artists have good foundations to build upon and it’s only going to get better for them.

What are your other responsibilities at the agency besides developing artists’ portfolios?

I book jobs, negotiate deals, create curriculum for workshops, and teach workshops. I have my hands full! It’s the day to day aspects of running an office, but it’s an agency.

What are the differences in working with the agency and teaching the workshops for the agency?

Working within the agency your dealing with the day to day aspect of five lines ringing at one time, trying to negotiate 3 to 4 deals at a time for different people, making sure all the paperwork is complete, following up with clients and production companies to collect payments, and being the buffer between the artist and the client to maintain the balance. I love teaching! I love putting together curriculum from scratch. I like to put things down on paper as well as get it across to someone verbally. That is very rewarding to me when someone in the class gets it.

What is the one thing you would like to say about agents or agencies?

I have a whole new respect for agents.

What is your advice to an aspiring artist looking for representation from an agent/agency?

An artist who has the potential to be quite busy can benefit from having a good agent. They can just go in and do their job without the hassles of deals etc., because the agency would handle the business aspect for them. Artists tend to not be organized individuals, and tend not to be business people. If these aspects are weaknesses for an artist, I would highly recommend getting an agent. Interview them, just like they interview you. Find out what the agencies’ goals and mission statement is. Find out what the financial turnaround is within the time that you are booked on a job. Ask if they set goals for their artists and how many artists’ are on the roster and working.

What are some tips for new artists in the industry or fresh out of makeup school who want to have an agent represent them?

Don’t go into an agency with a scrapbook, or photo album photos from your family album. If you don’t have a portfolio, say “I don’t have a portfolio, what do you think is the first step for me to take in getting one together?” Conduct more of an inquiry with an agent instead of “I want an agent,” and you have nothing that an agent can work with. Inquire about advice for starting out, you might get answers from a kind person or you might get nothing. It’s a chance you have to take. The worse thing you can do to yourself is approach an agent with mediocrity. It makes you look worse than asking a couple of questions over the telephone. Be professional, the presentation sells itself. Make sure your stuff looks clean and you look clean. When you submit a resume check that you don’t have 500 misspelled words. If you don’t have the experience, don’t fudge it. Make your resume make sense. Don’t list your specialty as “does black makeup” on your resume. I don’t think that racial stereotypes are specialties. You are either a prepared makeup artist from A to Z in coloration, or unprepared, and call it a specialty. You will not get a job from me with that as a specialty on your resume.

You are a national spokeswoman for Interface Cosmetics, how did you become involved with this company?

I put together a promotional lecture two years ago at the Samuel L. Jackson golf tournament. I contacted several makeup companies, one in particular that I contacted said I know this is a new makeup line, I can’t tell you much information about it, but we need someone like you to help represent the line. A few months later I was contacted by Interface Cosmetics and they wanted me to help promote the new line. I helped launch the new line in Los Angeles. My affiliation with celebrities was a draw to reach a lot of people. I started going around the country doing media interviews, makeovers, and television appearances.

Where is Interface Cosmetics located?

The headquarters for Interface are located in Long Island City, New York. Macy’s, Fox Hills location in Los Angeles carries the product, and it is located in other areas across the United States.

On average, how much time do you devote to Interface as their national spokesperson?

Once a month, I go out 3 to 4 days to different cities across the United States.

Tell us about your teaching experiences?

I love educating, training and teaching. I lectured at the Makeup Artist Trade Show in 1998 and this year. I am still getting letters from people who attended. They thanked me for changing their careers around. That is exciting to me when I know I have made and impact on people and I can contribute something to their careers. People stop me in places and say, “you have no idea how you have changed my career.” I approach makeup from a very philosophical standpoint, which is very different from how most people approach makeup. I try to get artists’ to see that when someone sits in your chair, especially if they are not an actor, the kind of impact you have by changing their physical features around. When you make the consumer look like that glamorous person they have always wanted to look like, it is so rewarding. As a makeup artist you have a lot of power in your hands and sometimes you don’t even realize it. When you tell a woman how beautiful her skin is, or how gorgeous her features are, it positively reinforces insecurities she might be living with her entire life.

What are common makeup questions you get from other artists’ or the general public?

Most of my questions have been directed to working on black skin and how to determine proper undertones for all skin types. A lot of makeup artists have an issue about working on black skin. I have had to come up with some really strong ways of teaching so that people can understand that there is no difference between black and white skin. You are just making up undertones. I try to take “the color” out of makeup.

What kind of feedback do you have when you teach your methods of makeup?

The response is overwhelming! I say you are not doing black or white you are doing undertones: warm and cool. Most artists’ just see black skin and forget what is coming through the dark, is a blue or deep purple undertone. Artists’ get so overwhelmed by the fact that the person in their chair is black, that nothing else matters. You have to be able to take that element out of there and start looking at what you do as an artist.

Do you think that education in this area of makeup application is lacking?

Yes. Teaching proper application of undertones, not skin color and ethnic backgrounds is lacking. If you teach a person to be an artist and to work with color, whoever sits in their chair, color becomes irrelevant. You deal with facial structure or hair texture, not skin color. I say that in all my lectures because I find that no one else talks about it. Everyone ignores it. Unfortunately, I have found that most makeup artists don’t know color. Do yourself a favor and take a color class. Because you do your own makeup doesn’t mean you can do it on someone else. I try to get artists’ over their fear so they can be prepared to work on anyone. Stock your makeup kits: warm to cool, alabaster to ebony. Be a well-rounded artist. I am very political about this issue. You have to fight to not get pigeonholed as a certain type of artist. I am a makeup artist, hire me for the quality of my work, not the color of my skin. I say to artists’, take the time to be qualified so that your art shines.

What is your advice to artists’ interested in working in the film industry?

I think you really have to assess your personality in this field. If you are young and have no responsibilities other than yourself it is great to travel around with a celebrity or personality. You get a chance to see a lot of different places at someone else’s expense. You can travel and experience life and come out of your own microcosm. If you have no kids I say travel around , or do a film, make it fun. I was in Jamaica for two and a half months on a movie working 17-18 hours a day but I still had fun because I made it fun. If you are married and have a family you might consider working on a TV sitcom and do some print work. Based on your personality, and your individual circumstances assess your career based on that, a lot of people don’t think about that. If you like to live in a comfort zone the film industry is not the place for you.

Are you still working as a personal for Samuel L. Jackson?

No. I am taking one day at a time, one project at a time. My life has changed with my son Grégoire. I have to have a life and my life revolves around my son.

Of your celebrity clientele, is there someone you love to work on as and artist?

Angela Bassett. I can do her makeup in my sleep and watch her face come to life. LynneWhitfield. I enjoyed doing her makeup on “Eve’s Bayou.” Her hair was very black for the film, which made her face become cool. Using all the period lipsticks and makeup colors made it all look so real.

What has been your least favorite project?

The Negotiator was my least favorite. There were a lot of things I did not like about the production in general.

What has been the most challenging project to date that you have been a part of?

“Malcolm X.” I was department head of both makeup and hair. I had up to 50 people under me a day, no matter what happened I was to blame if anything went wrong. The research for the historical period figure was impeccable. I look more like Malcolm than Denzel does! Creating the look for Malcolm on Denzel was challenging because he didn’t look anything like him. The chiseled jawbone, eye color and skin color became a lot of work to transform him. We did a lot of makeup tests. I was very happy with the end result. Some days you couldn’t tell who was Malcolm and who was Denzel. “Malcolm X” by far was the biggest challenge with Tina Turner’s, “What’s Love Got To Do With It”, next in line. She is still living, how do you do this beautiful icon that’s still alive? There was no room for error. I had a chance to interview Tina for about eight hours to research a lot of nuances that you don’t really see but made the character. A lipstick shade or nail polish color, the makeup techniques that she used. I had to know where all the nicks, scares and bruises were because it made a big difference in the completion of the person she was. These two films were the biggest of my career.

What is your favorite period style to work in?

The forties. The forties are absolutely gorgeous. The clothes, the makeup, and the women were beautiful. Women in the forties were ultra feminine and had bodies. The nails and red lipstick I love. The fifties take it or leave it. I don’t like the fifties June Cleaver look.

What might we find in your makeup kit if we looked inside?

Castor oil. This is my favorite thing. I use it under the eye areas and in dry flaky areas. Beard cover in the orange color family, those are the best concealors. La Femme gold leaf powder, gold shine from light to dark. One of my favorites is Alex de Markopff’s Eye Disguise. It keeps eye shadow on till you cut your eyes out. My motto is whatever works, whether it’s dime store or department store. I am no product lover. Stock your kits with warm and cool and find those neutrals.

Give us a trick of the trade beauty tip.

Gold. That’s what I use on everyone in different intensities.

Marietta’s resume is impressive and extensive, here is a sample list:

• The Negotiator
• Jackie Brown
• Sphere
• The Red Violin
• Eve’s Bayou
• 187
• The Long Kiss Goodnight
• A Time To Kill
• The Great White Hype
• Fair Game
• Strange Days
• Dangerous Minds
• Beverly Hills Cop 3
• Tina: “What’s Love Got To Do With It?
• The Jackson’s: An American Dream
• Malcolm X
• A Class Act
• Mobsters
• Boyz ‘N The Hood
• Ghost
• The Long Walk Home
• Why Me?
• Her Alibi
• The Mighty Quinn
• Clara’s Heart

Check out Marietta in makeover action as the National Spokesperson for Interface Cosmetics

Ghosts goblins, monsters, gore and more! That’s what October’s makeup artist of the month, Michael Burnett specializes in. Michael is a Halloween Extraordinare, as he is the mastermind behind Universal Studio’s Halloween Horror Nights! This is his third year in charge of 5 Halloween mazes, live stage shows and keeping a crew of 35 makeup artists busy cranking out classic movie monsters, mummies and more. I had a true Hollywood gore and effects experience as I got the behind the scenes tour of Michael’s effects shop, where all the Halloween magic comes to life. Michael is a true all-around artist, dabbling in all sorts of creative venues from special effects makeup, the makeup department head on Nickelodeon’s show, “All That,” an instructor for UCLA’s Extension program, and a Dad!

Last year, Universal’s Halloween Horror Nights was rated the #1 Best Halloween event in town over its rival and long time leader in Halloween events, Knott’s Berry Farm! Universal’s Halloween Horror Nights begins October 15,16,22,23,29-31 and last from 7pm-1am. Come see Michael’s hard work come to life in the spookiest ways!

What got you interested in makeup as a possible career?

Growing up as a kid I loved horror movies and special effects movies: “Mission Impossible” and “Six Million Dollar Man.” I started making super 8 movies when I was in junior high. They were always science fiction or horror movies that had makeup. I did that through high school and in college I was a theatre major with an emphasis on TV/film and took makeup classes.

How did you get interested in Halloween makeup effects?

Halloween was always my favorite time of the year. I would always do a giant exhibit at my parent’s house, which was written up in the local papers. This eventually grew from a small display on the porch, to an extravaganza in the garage and driveway. We would start at the beginning of September getting the garage ready by building walls and putting my monsters in place. I don’t think my parents ever parked their cars in the garage. People would come from all over to view the exhibit at my parent’s house. I just did it for fun. From this I started doing Halloween theme parties. Since I lived in Orange County I started doing events for Knotts Berry Farm, the Queen Mary and Universal Studios.

Where did you get your makeup training?

I went to Cal State-Fullerton but did not complete my degree. I took basic stage makeup classes and an advanced prosthetic class. In my junior year, I started working in the industry. I loved makeup and making movies with special effects. I never really thought I wanted makeup to be my career but I needed to focus on one area. My jobs and interests always came back to makeup and makeup effects. If I did a science fiction movie it had aliens in it, or if I was working on a play, I did the old age makeup. Everything just made sense and lead me to makeup. Up to this point, I was self-taught, reading books, and watching how to videos. I began hitting a wall because I could only teach myself so much. You start to need people that have a lot more experience to take you to the next level.

Tell us how you started working in Los Angeles in the makeup and special effects industry?

When I was in college one of my classes required that I do an internship in the makeup field. I had already been working and met a few people that enabled me to make connections with Tim Lawrence who worked at Rick Baker’s shop. Tim invited me to visit the shop, which happened to be the time they had just finished the Michael Jackson video “Thriller”. At the shop I was able to meet Rick and talked to him regarding the internship, which enabled me to work three days a week for school credit. This was not something that Rick did on a regular basis so I was very lucky to be able to do this particular internship with his shop.

Was this your first LA shop experience?

Yes, more of where the experience was really regular makeup. I worked at Bob Clark’s about six month’s prior to working with Rick but we weren’t really doing makeup. I met Greg Cannon who was a friend of Bob’s and he had farmed out a creature for us to work on. We were working on the fringes of special effects makeup rather than makeup on an actor. I felt really lucky because the internship at Rick Baker’s was my second real job experience in LA.

Were you guaranteed a permanent position after the internship or did you hope that it would come from the internship?

Rick said “Come do this internship and we will see where it goes from there.” A few months later the shop started the movie “The Rat Boy” and he hired me on as a full-time paid employee. I was there for four years and I did a lot of stuff. Rick’s shop was much smaller back then, maybe ten of us working at a time, and just one building. When a job was complete and went to set for filming the shop would close down for a while. It was at this point in my career that I decided not to continue with college. I had been turning down jobs in the industry, which seemed to be of more benefit to what I wanted to accomplish. It seemed only natural to take the jobs.

Did you have a specific job at Rick’s once you were a full-time employee?

Yes, I ran the foam latex. When I first started working there we got to do a little bit of everything. The jobs started getting bigger and bigger so we started specializing and I ran the foam department.

When did you decide to open your own makeup effects shop?

I had just finished working on “Gorillas in the Mist” over at Rick’s and that job was a ton of foam. There were full-bodied gorillas, faces, baby gorillas, almost overwhelming for one person to handle. I talked to Rick about my desire to branch out into other areas of the shop whether it was painting, sculpting, or molding. I did not mind running foam but Rick explained that he wanted to departmentalize the shop with people specializing in one department. That’s where his shop was headed. At that point I did not feel like my goals were in line with where his shop was headed so I finished with “Gorillas in the Mist” and left Rick’s shop. I connected with Roger Corman and took a job on the film “Twice Dead”. It was a low budget horror movie with severed heads, slashers and gore. This film was the first project I did all prosthetics and makeup special effects. I had a shop in my garage, gutted the inside, insulated, and hung lights, the whole bit. Had a couple of guys that worked with me in my shop. We would work subcontract jobs off and on and also working for Universal at the same time. I got a big job with Universal doing some earthquake body victims and the job was too large for my small garage. I moved out at that point to an industrial area in North Hollywood. I have had a large shop location ever since the move from the garage.

After you left Rick’s shop, did you become independent?

Yes, my jobs came from many sources usually networking job to job. Makeup is my first love and the thing I like the best. Now I am able to do union shows, as I was able to join the union several years ago. I had always made prosthetics for people but was never able to apply them to the face because I was not a union member.

Are you still an instructor at UCLA?

Yes, I have been instructing at the UCLA extension program for seven years now. I teach a basic prosthetics class, which meets 6 times, eight hours at a setting. I design my course to follow my instructional videos that I made about ten years ago. The students do a life cast, do a sculpture, mold it, run the foam, learn how to paint it, repaint it and do hair work. Some students like to do the Terminator thing where they have electronics. You can only do so much in six weeks. My philosophy on teaching is if you don’t share the information then it gets lost. Everyone’s work advances by sharing information and knowledge.

What are some of the challenges that you encounter as a shop owner?

I think everybody goes through the ups and downs of shop ownership, as it is a lot of responsibility. Right now I have twenty-four people working for me and you look at that as twenty-four different personalities that you have to deal with. Some days it goes great and really smooth but then there are those days that there is a problem and I wonder to myself, “Why I am doing this?” Having a shop like this affords me the ability to do things that other people can’t do because they don’t have the facilities. It does have its advantages that I can take on bigger jobs that I would not be able to do if I were still working out of my garage. I like to do a variety of things. I don’t get the big budget films like Rick Baker or Stan Winston, or even close to that range. I did not get into the business just for the money; that’s not my first goal. I really enjoy the creative process of making monsters and doing character makeup.

Do you ever-just do straight makeup on movies or TV?

Yes, I currently work on a Nickelodeon Show called “All That,” it’s like a Saturday Night Live for kids. I am in the 4th season and it’s been on for 6 seasons. I am the makeup department head and I do all the straight makeup. I also did the “Ben Stiller Show” while running my shop. I am on both sides of the production process, in my shop and on set working as a makeup artist.

Let’s talk about your involvement with Universal’s Halloween Horror Nights. Explain what this event is and in contrast the competition of Knott’s Berry Farm’s Halloween event.

I have worked for both Knott’s and Universal so I have a full scope on what they do. Knott’s has been doing their event for 27 years and they are the established event for Halloween in town. They do a very good show. The makeups at Knott’s are very theatrical versus the realistic film look that Universal tries to achieve. Knott’s is connected to a lot of theatrical people within the city and in the university setting. Hands down Halloween at Knott’s is their most popular event during the year. Universal is a movie studio so they get more into the details of the experience; like bringing a movie to life. They put a lot of effort into the design and not just the makeup, but the scenic stuff as well. Knott’s Berry Farm is a theme park attracting a younger crowd. Universal has City Walk, the Amphitheater and draws an older crowd. Each event has mazes and live shows orientated to Halloween. At Universal, I try to bring a movie quality to the makeup and makeup special effects I design. We use very little store bought masks unlike Knott’s where you might see your Halloween mask on an actor. Everything at Universal is an original design.

What are Universal’s themed mazes this year for Halloween Horror Night?

Well there are several. Bill & Ted’s Excellent Adventure is a live stage show, which spoofs current events and movies. “The Mummy” maze is new this year and is based on the Mummy movie with Brendan Fraizer. Universal tries to duplicate as close as possible the chronology of living through the movie. We have actual props, costumes and are duplicating makeups from the movie. Clive Barker’s, “Hell” and “Rob Zombie” are both new mazes. “The Classic Monster” maze is there every year and is done in black and white. We will use airbrush makeup to recreate the classic movie monsters, which are all owned and licensed by Universal. The last maze is “Clever” and is like a Slaughterhouse/Texas Chainsaw Massacre theme.

Does a ticket get you into all 5 mazes and other events?

Yes, one ticket gets you into everything. Food and souvenirs are extra.

How do you coordinate everything behind the scenes?

It’s a huge event. There are about 300 people that have to go through costumes, makeup and hair. We have 2 makeup locations “upper” and “lower” due to the layout of the studios and location of each maze. I have it organized with big makeup charts according to character, what goes on the face and where, and makeup to use. The actors come in, pick up their makeup chart, and take it to an available makeup artist.

What is the level of makeup difficulty for the makeup artists working?

It ranges from basic to advanced prosthetics with bladder effects. We allow more time for the advanced makeup applications. We have a dress rehearsal before hand to work out all the kinks. I have a crew of 35 makeup artists working the Halloween Horror Night event. We have makeup artists that work every year and usually we add 8 to 10 new artists every year to the crew. The makeup artists are interviewed for the positions we have available. We like to see photos of their work so we can determine their makeup abilities since we have such a wide range of makeup applications.

How early did the pre-production process start for the Halloween Horror Night event?

My shop started designing in February 1999. The thing I love about Universal is they give us the opportunity and means to bring makeup to another level. Universal knows how important the process of makeup is. This event has come a long way in the past 3 years.

Has your budget changed over the years to meet the popularity demand of the event?

It’s stayed the same. We design things each year that can be incorporated and built onto for multiple use. We can take a general prosthetic, add to it with a wig, which allows for mixing and matching for budget purposes. Universal competes with Knott’s who has been at this Halloween thing for 27 years. Characters at Universal are more elaborate this year. Universal made a commitment to do this event and they’re into creating their own original ideas because they are the new kids on the block. Halloween Horror Nights was rated the #1 best Halloween event in 1998, I think we will do it again this year!

If you’re interested in viewing Michael Burnett’s work or want to know what his upcoming projects are check out his website at www.mbpfx.com!

Have a very makeupmania-like Halloween! See you next month!

I met with Marvin at Westmore Academy and got the Hollywood scoop on the Westmore family dynasty! Marvin is the father of five kids: Kevin, Kandy, Eric, Kris and Matthew. Four out of five kids work in the TV and Film Industry! Marvin is one of the forefront educators in makeup artistry education, has a classy resume that will knock your glitter eyelashes off, and is even a Boy Scout Mountain Man for the Western LA County Council. Marvin serves on many local committees, is a fabulous cook and insists if he doesn’t learn something new at least once a week- its been a bad week! Read all about Marvin’s career and family history in Hollywood’s Motion Picture Industry.

Give me a brief history of the Westmore’s family history in Hollywood’s makeup industry.

The Westmore family in Hollywood originated in the Isle of Wight, England. My grandfather, George Westmore was a wigmaker and hairstylist. He immigrated to the United States through Canada back at the turn of the century. He came in through Canada to Philadelphia and onto New Orleans. He had his first salon in the Isle of Wight, then a salon in Texas, and came out to Hollywood in the early days of silent films. My grandfather and his sons built their own shops; they were all very handy with carpentry and plumbing. As I understand it, back then, in the entertainment industry, everyone used to do his or her own makeup. There was no one person responsible for the hairstyling or makeup. As the story goes, Adolphe Menjou, a very early actor, who always had that pencil thin mustache, accidentally shaved half of it off. He stopped by the wigmakers to see if they could do something. My uncle Perc crafted him a duplicate side that equaled the real side. The Production Company was so impressed that they stopped production and had all of their hair goods made by the Westmore brothers, Perc, Ern and Wally. My grandfather got involved in a couple of projects where he could see that there needed to be a unification of actions, a department so to speak, to take care of makeup and hair. He was instrumental in establishing the first makeup department. My grandfather got his sons involved in the studios working at a very young age. I have some advertisements dating back to 1926 showing Perc and Ern doing wigmaking for the industry. As the departments evolved, my father (Mont Sr.) and all of my uncles, Perc, Ern, Wally and Bud, ended up as department heads of major studios. Wally was at Paramount for 45 years. Perc was at Warner’s for over 20 years and was most famous for his creation of the seven classic facial shapes and the classic eyebrow diagram. My father, Mont Sr., died in 1940, and is best remembered for his work on his last film, Gone With the Wind.

How did you and your brothers get into the makeup industry?

The generation after that, which is the third generation, is myself, my older brother Mont Jr., and my younger brother Michael, who came into the business at another point. I came in through live television back in 1958 at CBS network. I started out on Art Linkletter’s House Party, worked my way up to the Red Skelton Show, and the Danny Kaye Show. I also did a series of live shows, called Playhouse 90′s, which were serious dramas performed live, as if you were in the theatre. Everything had to happen in real time, and that was exciting. It was good training, because you had a lot of people to makeup in a short period of time. I went to work on the soaps for a year. I usually had a cast of 12 to 15 to makeup in a four-hour period. There is no makeup time allocated, but everybody got makeup. This was an exercise in how to get the essence of a look without doddling or extra brush strokes – total time management. This is what I taught my daughter Kandy. When Kandy and I work on a show together, we do the work of three people because we have really good time management in our department.

Because of your family history, were you expected to go into the makeup industry? Was makeup something you knew you wanted to do, or did you have aspirations of doing something else?

Makeup was not something that I set out to do. When I was in high school, I fell in love with drafting and art. I wanted to be a set designer/architect. I got out of the military after the Korean conflict, married with one child. I took my portfolio to Disney, and they said I was acceptable, but they required one year of formal education at an art school. At the time, I did not have the discipline to study set design. I had a job offer at the Glendale Light Opera co-designing sets, something I really enjoyed. I worked at a liquor store for a while, then my family said, “you’re out of the liquor store, here’s a make up case, you’re going to work at the studios”, so I started daychecking here and there. Makeup was like another three-dimensional art form to me. Makeup wasn’t difficult for me to grasp; it was learning some of the techniques that are similar to painting, but different. I got involved with the studios and worked at CBS network for six years. It was a great learning process because I ended up running my own shows. I learned a lot about time management and purchasing. I rented all the wigs for the shows. We had a department head and an assistant department head but I was considered the “Key” makeup artist on the shows. I was an assistant makeup artist on the classic film, “Stagecoach”. I continued on in TV and film.

Who were your mentors along the way as you honed your craft?

I got a tremendous amount of experience from Bud Sweeney and Stan McKay who were my mentors. My father passed away at the very young age of 39 in 1940. I did not have the benefit of his presence and expertise.

Did you have any formal training in makeup artistry?

I wasn’t taught by anybody. It was basically being around it all my life. My mother was a hairstylist. As a child, I would go to work with her on Saturday’s at Warner’s. I was always hanging around with the makeup guys. They were the interesting people. My older brother Monty trained prior to me and I was his model. He probably gave me a couple of quick lessons on how to do a beauty makeup. Everything else was watch, observe, and duplicate. My training was to translate script needs into an art form, then being around people who were generous with their comments, suggestions and help. I have never been afraid to ask if I was unsure.

Would you say you formed your own style and technique learning from all these mediums?

Yes. I don’t know if it’s that strong but I do have a style and approach to makeup. My approach is simplicity. A lot of people who get into minutia are just picking at makeup in infinitively tiny pieces. Unless it’s a makeup of tiny pieces it complicates time and motions. You also have to think of the size screen you are working on. If its TV you loose a tremendous amount of detail not that you shouldn’t do quality work, but there are certain details you don’t need to worry about and you can get by with. If it’s for film where the heads are ten feet tall, it’s the same as if you were doing HDTV (High Density Television). HDTV and the big screen are no different; everything shows up on the big screen. I developed a tremendous sense of skin color and skin tone. I work freely with any group of nationality or origin. I match 100% accurate skin tones. I used to get in trouble with my boss for not using the old Max Factor tinted powder, instead I used the Westmore colorless transparent powder. Tinted powder changed the color of the foundation and I didn’t want to change any foundation color by using tinted powder.

Do you have any regrets not pursuing your dreams of becoming a set designer/architect?

I don’t have any regrets about it. I have used most the skills I acquired as a young person. I have used my skills in scouting programs, helping out in church plays and landscaping my yard. I have utilized all those skills in a great number of areas throughout my life.

Which areas of media do you prefer working in the most? Television or Film?

I enjoy the project no matter what the medium is. If it requires creativity, that’s what I want. I want something to keep my mind and hands working and functioning as opposed to cranking out the same old makeup’s day after day. That gets boring.

Looking back over your career, what has been your favorite project?

I have had a number of favorite projects. Dr. Doolittle with Rex Harrison was my first big film. Ben Nye was the department head at FOX and I ran the day to day operations on the set. I also took care of Rex Harrison, who was the lead. It was a wonderful project. We spent 9 months filming in various locations like St. Lucia, Santa Barbara and the FOX lot. The project was rich.

What has been the most challenging project of your career?

There are two big ones. Best Little Whorehouse in Texas (1982) with Dolly Parton. I didn’t do Dolly’s makeup but I supervised the rest of the show. The other tremendous challenge was Blade Runner (1982). It was a challenge as a film, but the other challenge was management working in a negative energy. It was difficult. You had to stay angry to overcome the negative energy and point of view. The cast was wonderful and very creative.

What projects are you working on currently?

Right now I am spending time at Westmore Academy working on the curriculum. I did two HBO movies recently, The Rat Pack and The Meyer Lansky Story.

When did you open Westmore Academy?

The school formally started in 1981 but was in development since 1979.

What made you decide to open a makeup school in Hollywood?

There were two things that brought me to feel there was a need for makeup education. All of the makeup education outside the motion picture studios was by cosmetic lines. Line education is bent towards sales. I was asked to judge a makeup competition for the Long Beach Hairdressing Guild Show. I watched these young people struggle with application techniques, and not knowing when and how to use products. People were interested and had a desire to learn but had no place to go. That was the consumer aspect of the school forming. The second reason I formed the academy was my work with actors and actresses who periodically had face lifts and eyes done. They can only be down for a couple of days before they need to be back to work on the set. I spent a lot of my time, as a result, taking care of their bruises and making them look real and healthy. A couple of actors and actresses talked to their physicians about what we had been doing in the makeup chair to help them through their surgeries. The surgeons begun asking if we could help some of their other patients. The doctors felt it would be an interesting business opportunity. I took what I knew and the products I had and proceeded to help those in the medical field. This evolved into what used to be called paramedical makeup and now is referred to as medical aesthetics. I work with hospitals, burn units, and those with congenital disfigurations. The consumer makeup, medical aesthetics and motion picture elements all encompass Westmore Academy’s curriculum.

What sets Westmore Academy apart from other Hollywood makeup schools?

There are several things that set Westmore apart from the competition. The head of Westmore Academy is a living breathing makeup artist that still functions in the industry. We put the “artist” into makeup artist. We teach drawing, color theory, and psychology of color. I wanted to incorporate the artists’ elements into Westmore Academy’s curriculum. These things alone separate us from the competition.

What is Westmore Academy’s goal for the millennium?

The program has a living curriculum. As the times change, techniques change, products change, we do to. We are not stuck in any one area. There are things I want to add to the program such as more art, costume, and hairstyling on a full-time basis. Airbrushing classes are being brought in within the next few months as a standard in our curriculum. The joy I’m having is working this to make it come to fruition.

What do you find is lacking in makeup artists’ today?

Most of the makeup artists today have training in beauty makeup. They don’t think of themselves as being an all around makeup artist. They consider themselves beauty specialists. They hire someone like me to come in and do the beards and bald caps and I am a specialist. In reality, I’m not a specialist I am a well-rounded makeup artist. If someone wants to pursue a career in the business they need to be a well- rounded artist.

What advice do have to an aspiring makeup artist wanting a career in the TV and film industry?

My recommendation applies to whatever category of makeup you want to get into. Go take art classes. Draw, sketch, and study color. You have night school, junior college and can do it inexpensively. Don’t try to be a Rembrandt. Learn to use your head, eyes, and your hands. All three are necessary for makeup. We jokingly call our school the Zen school of makeup because long before you touch the face its got to be in the head, before it can translate to the hand and onto someone’s face.

Give us your best beauty tip.

Concealing skin discolorations. Forget the green cutting the red, yellow cutting purple and blue cutting orange. Using those theories you just change the skin color not conceal it. The tip is, go right to the color that matches the skin tone and get rid of that other step. You will eliminate half the makeup thickness. Wherever the discolorations, go directly to that area and match the skintone.

For more information about Westmore Academy or Marvin Westmore: Log onto www.westmoreacademy.com or call 1-800-WESTMOR or (818) 562-6808 Westmore Academy 916 West Burbank Blvd, Suite R Burbank, CA 91506

I interviewed Beckie while she was in Los Angeles for the opening of her latest work “Sculpted Arias.” The exhibit was held at the Los Angeles Music Center Opera. Art buff’s and opera lovers were among the crowd viewing her collection of famous opera characters. Get the scoop on Beckie’s fascinating career as a multi-talented artist!
How did you get started as an artist?

Art was something I always did. I took art classes from the time I was a kid. I was involved in children’s theatre workshops, in addition to acting stuff I took puppet-making classes. I was always putting on plays and making costumes. I always had my hands in “craft” stuff.
When did you discover you had a talent for creating faces?

I really found my art niche in high school.  I had a great crafts teacher.  I am not particularly good at two-dimensional drawing.  I was introduced to three-dimensional arts and craft oriented things using multi-media. This included sculpting, ceramics, textiles, and jewelrymaking. I realized this was the fun stuff. When I became a makeup artist and maskmaker I looked back through some old files and discovered I had collected faces from the time I was eleven years old.  The focus on the human face goes way back for me.  All my doodles were of eyes and faces!
How did you combine your love of theatre and art together?

I was on the art track and theatre track separately. They eventually came together in college.  I got my BA in Theatre at Williams College, Williamstown, MA. I went on to Yale Drama School to pursue a Masters in Dramaturgy. During my three-year masters program I realized I did not want to continue studying Dramaturgy.  I switched to a one-year internship program in prop making.  This program was tailor made for me. I studied scenic painting, woodworking, metalworking, maskmaking, and design.

I realized at the end of that internship that I did not want to be a prop maker. There was a specific thing I loved and that was making masks. Making masks brought together all my focus on faces and sculpting. After my internship, I apprenticed maskmaker Ralph Lee in New York to further my training.
How did you start doing opera makeup?

I took a summer job with the Santa Fe Opera. They needed a maskmaker as luck would have it. This was my first experience with opera. The makeup and wig department was next to the crafts shop. I looked in and saw what they were doing and I had a huge revelation. They’re painting masks on real faces! The world of opera makeup opened up to me.

I went on to train with Judy Disbrow in Santa Fe. She runs Theatrical Hair Goods in San Francisco. I also went on tour with the Western Opera Theatre for six months then came back to LA and worked the crew for LA Opera. All my makeup training has been on the job. Rick Geyer, wigmaster at the LA Opera has been a mentor in this area.  In 1990 I came on full time as the first assistant to Rick at the LA Opera. I have been Placido Domingo’s makeup artist for eight years now. I now spend about four months in LA and the rest sculpting in my studio in Arizona.

Who have been your mentors along the way?

Ralph Lee, a maskmaker who I apprenticed with in New York after studying at Yale. Hunter Spence, my props and maskmaking teacher at Yale. Rick Geyer, friend and wigmaster at LA Opera. Julie Taymor was an inspiration more than a mentor. The one show I worked on for her early in my career was working with her assistant. Donato Sartori, a leather maskmaker in Italy. Jonathan Bickart a sculptor in LA and longtime friend. Jonathan taught me just about everything I know about portrait sculpture. Pamela Shaw, LA costume designer with a great eye. Tim Saternow, set designer and Yale colleague with a great eye.

Is there a particular maskmaker who’s work has influenced you and how?

The works of Ralph Lee and Julie Taymor have been major influences.  I had the privilege of working with Ralph on “The Wildman Project” at the cathedral of St. John the Divine in New York. I learned tons from him about design and technique.  I have also benefited enormously from my friendship and collaborations with Bob Beuth. Bob is a multi-talented writer, actor, director, and maskmaker in LA.  I have also studied a great deal about masks of other cultures. The styles and techniques of these masks of the world find their way into my work. Inspiration is everywhere!  I can look at anything and anthropomorphize it into a puppet or mask.

What type of materials do you use when sculpting?

Chavant ‘Le Beau Touche’ sculpting clay (oil base) and terracotta pottery clay (water base).  Armatures of plywood with a pipe flange and 1/2-3/4″ pipe attached.

What are the basic tools needed?

Stainless steel jeweler’s wax sculpting tools, available from jewelry supply stores in downtown LA, and assortment of wooden clay tools available in any art store.  An adjustable, rolling sculpting stand with a turntable top is very helpful as well, though not absolutely necessary.  I find that an adjustable drafting chair with good lumbar support and comfortable seat makes a huge difference.  And a mirror!

Do you continue to train by taking classes or studying other maskmakers to improve your craft?

Always.  There is so much to learn in terms of techniques in sculpting and construction.  I am lucky to have several friends who are designers and/or sculptors. Much of my continued training is not in formal classes.  I also teach workshops and find that I always learn from my students, no matter what age or ability level.

What was your inspiration for “Sculpted Arias?”

My love of doing opera makeup and the music itself was an inspiration. I wanted to study specific opera characters from the inside out. I wanted to create their face, then create the inner self as well. I threw myself into sculpting. I felt everything come together. My ten years as an opera makeup artist, my training as a crafts person and working in clay. I have created this body of work that pulled all those elements together.

How was the recent showing of “Sculpted Arias” received?

The reception was great.  People told me that the work really moved them. There did not seem to be just one “favorite” piece, which is a good sign that different pieces spoke to different people.  I sold several pieces, which of course is always encouraging!

“Sculpted Arias” included how many works?

Eleven opera characters were on exhibit.  My website will be available soon for specifics on each piece.  You can see photos of four of the pieces at the end of our interview.

What is the price range of your work?

Limited editions:  $1500-$1750
One of a Kind:   $3500-$9500, general range $5000
Theatre masks (wearable, various materials, reproducible): $300-$600

How do you determine the value of your pieces?

A common formula for bronze sculptures is to figure the actual cost of producing the piece (mold making costs, foundry work, materials, etc).  Triple this cost to include a gallery percentage (50-60%), and a fee to yourself for your time and talent.  I used this as a starting point, but this formula applies mostly to limited editions (more than one piece made from the same mold).  Many of my pieces are one of a kind and the prices are higher for these.

Are most of your pieces one of a kind or limited editions?

Yes. My Sculpted Aria series consists of a one-of-a-kind sculpture for each character. The back of the same mask is filled with additional paintings or sculptures. Limited editions of 25 are available of just the faces. These limited editions can be wall mounted or mounted on a marble base.  My theatrical masks are different.  I often make a mold for these, and reproduce the face in unlimited quantities.  I hope to use these molds to start a business through my website and brochures. I would also like to provide sets of masks to schools, training programs, or to mask actors.

What is your next project? And where is your next mask exhibit?

I am creating two masks for the Gilgamesh Theatre Company’s “Chomlungma” or “The Mountain”.  This is an original work by Stephen Legawiec about climbing Mt. Everest. “Chomlungma” will premiere in LA in May.

I hope to have another gallery show with more opera sculptures in the summer or fall of 1999.  I am also working on a body of figurative sculptures. I hope to have that ready to show in late 1999.  All three types of work will be on the website soon!  I am currently looking for my next venue, either another opera house or a gallery.

What has been the most challenging experience with your maskmaking projects?

It’s hard to pinpoint just one.  I had to learn how to make my sculptures “big” enough to read in a house, and how to work with the lights.  A well- sculpted mask can change expression if the planes are designed to catch the light.  The biggest challenge is adapting the design of a mask to the performer.  The performer needs to see, be heard, and be comfortable performing in the mask.  In my non-wearable work, the biggest challenge is to create sculptures that speak to and move the viewer.

What advice do you have for an aspiring artist interested in a maskmaking career?

Collect pictures of faces. Keep files.  Sculpt a lot from life if you have the opportunity.  Go see masks in performance! Find a maskmaker to apprentice with.  Get a copy of Thurston James’ “A Propmaker’s Guide to Maskmaking”. Find costume and/or wig designers you like and work with them.  Much can be learned from the techniques and design elements of costumes and hair.  Work with mask actors; there is much to be learned from watching masks in action. Keep your imagination alive and your mind open.  Masks get made out of some pretty strange stuff sometimes. Don’t be afraid to experiment!
Beckie has a website currently under construction, but you can contact her at : bkravetz@compuserve.com. We will alert you when more information is available.
Check out a glimpse of Beckie’s “Sculpted Arias” on the next page.

Fast facts on Ian the SPFX Guru: born in Santa Cruz, California, used to be a D.J., hates fashion, colors distract him, likes women with a clean all-natural looking face, never touched a tube of lipstick before moving to LA for makeup school! Read into Ian’s story about becoming a Special Effects Guru!

How did you know you wanted to become a Makeup Artist?

It started when I was in 7th or 8th grade. I was always an artistic kid. I didn’t know it, but my mom and my teachers noticed. All I knew was that the only thing I wanted to do was draw and play with clay. Around 6th grade I figured out that I wanted to be an artist. I knew that artists don’t usually make money until they’re dead. That didn’t do me any good, because I liked money just as much I liked art. I spent a couple of years trying to figure out how I could be an artist and still make money. In 8th grade I watched a show on the Discovery Channel called “Movie Magic.” A guy that worked on Star Trek was showing the process of making a foam latex appliance. He said, “you take the life cast of the guy, you sculpt on it, you take the negative of that, you pop it open and pull out the clay, inject foam and you have your appliance.” It all made perfect sense to me. I knew exactly what he was talking about. I had never done it, but it all worked out in my head. I am a visual person and think in pictures, most artists do. I thought the whole process was awesome and I wanted to do it. The only thing I saw that required artistic talent was the sculpting. Sculpting was my strong point, versus drawing. I started the appliance process. I collected latex, clay, plaster and started playing around. My mom did my first life cast on me. We took paper towels dipped in plaster and stuck them on my face. I trashed my mom’s carpet and just kept playing around with everything.

Do you have any you formal training in SPFX or makeup?

I did art and craft classes my last two years of high school. After high school, I tried college but I decided I was bored. The junior college I went to only had a theatre department, so classes were limited for me to take in the SPFX area. I met a lady named Cathy Houts, who was actually a college instructor for my mom. She saw my talent and took me under her wing for 2-3 years. She had me working in the shop making props and experimenting with various materials. She was able to get me the supplies I needed and I would create things for the theatre department or just for fun. This was a very valuable time because I got to use my problem solving skills. I also had useful materials besides plaster and mud to work with. One year after high school, I moved to Los Angeles and enrolled at Westmore Academy of Cosmetic Arts. I went there mainly to get a grasp on beauty makeup. I knew learning all aspects of makeup would enable me to become a better SPFX artist. Eva was my instructor. And as I suspected, the beauty side of makeup was definitely what I needed. SPFX was an easy A.

How did you acquire your job at Make Up Mania?

Eva was my teacher at Westmore Academy. I guess like Cathy Houts, she must have seen my abilities and decided to hang onto me. I tried making rounds at the SPFX shops in town but the industry was drastically changing. Then Eva called me one day and had this idea to start a company called Rogue Planet. She said, “you start this company and sculpt these appliance pieces.” She is the marketing genius and the financial backing. A month later she came up with the idea of Make Up Mania and took off with that. I kept on with Rogue Planet. Rogue Planet is me; it’s personal and professional!

What is a day in the life of Ian like at Make Up Mania?

My days are always exactly the same. I wake up about 5 or 6am. I come into the shop early when no one else is here. Make Up Mania opens at 9am. I come in so I can get some good quiet time to work on Rogue Planet stuff. I work until noon, and then I go to work for Make Up Mania. I do the shipping, answer emails, and do custom orders and whatever else. I do that until 6pm or so and then everyone leaves. I stay and work till 8 or 9pm on Rogue Planet.

What does your shop look like?

My shop is in the back of Make Up Mania. There is a stereotype for most shops, and I kind of break away from that. Most people might expect pictures of heads and things. I definitely don’t have a display case with all my Oscars in it because I don’t have any. My shop resembles a mechanics shop. I have my tools hanging on the walls, I like things organized. I have to put things away when they’re not being used. I have a couple of completed projects sitting around like “Death” on top of the oven. I have a foam oven and molds. With this shop, I can do everything in-house. I am very lucky with what Eva has helped me to acquire.

What do you offer for sale on the page? How do you come up with your ideas?

The first things I launched last year at the Makeup Artist Magazine Trade Show were the Continuity FX pieces. Those are the most common things a makeup artist might need in their kit. Cuts, scars and burns. Then I added bulletholes, horns, dicknoses, and slit throats. I also have fun things like a Colombian necktie! I find inspiration by looking through Fangoria, or divine inspiration in my dreams.

What is your biggest seller?

The burns and cuts. These are more useable and common for makeup artists to have in their kits.

What is your favorite product on Make Up Mania’s site?

The Kama Sutra line.

Would you classify yourself as an all around artist?

I’m just somebody who has a skill, trying to survive. Makeup is my job right now. I think my goal is to be an artist up in a loft painting. I’m happier in the last few months than I’ve ever been. I have always thought I was lucky because I knew what I wanted to do since I was young. I don’t know exactly what I want to be doing but I know I’m close to whatever it is I’m supposed to be doing.

What are your personal career goals with Make Up Mania and Rogue Planet for the millennium?

My goals are:

• I would like to not have a day job. I would like for makeup to not just be a hobby. That’s been a goal for 8 or 9 years.
• For Rogue Planet to be self-supporting.
• To survive and not have to worry. This is the part that I tried to avoid by becoming a makeup artist – not a starving artist! But I still worry and I don’t want to do it anymore! That’s my goal for both Make Up Mania and Rogue Planet.
• Of course my ultimate goal is to conquer the world.

I interviewed Melinda after reading her beauty tips for brides in the Summer 1999 issue of Los Angeles Wedding Pages Magazine. Working exclusively with brides in the San Gabriel Valley, Melinda is highly experienced in the field of bridal makeup and hair design. Her work has been featured in Latina Bride; the March/April issue of Super Onda Magazine, and in LA Wedding Pages article “Total Beauty”. April showers bring May flowers and June brides are among us! Read up on the latest bridal scoop for 1999 with Melinda’s expert advice.

What made you decide to work exclusively in the field of bridal hair and makeup?

Every bride is beautiful no matter what they look like. I wanted to be that person who made the star of the day beautiful. I knew in beauty school when they started talking about bridal hair and makeup, that I wanted to do that. As soon as I got my cosmetology license I headed in that direct market. I found out how to get into bridal shows, bridal expos, and contacted photographers.

Where did you attend cosmetology school and how long have you been licensed?

I have been licensed for 3 years. I went to Rosemead Beauty School in Rosemead, CA. I apprenticed for one year at 2 different salons. At the third salon I moved over to Monrovia and had no clients at all. I stuck it out, passed out cards and fliers for free haircuts, and built up my clientele. I then started to get into the bridal end of makeup and hair. I am currently at Unique Beautique in Monrovia and currently have over 200 clients.

How long has your business been geared to brides exclusively?

About two years now. I did on average thirty brides last year not including members of the wedding party.

What did you do prior to becoming a cosmetologist and makeup artist?

I was a floral designer for 3 years, a cashier at Ralph’s grocery store for 5 years, a waitress in the Nordstrom’s café for 13 years. I gained a lot of experience with customer service. The customer is always right and I learned a great deal. I have done a little bit of everything.

What made you decide to become a cosmetologist?

I had always had an interest in becoming a cosmetologist as far back as high school. I had an opportunity to move back home and my father asked what I wanted to do. I had always wanted to go to beauty school, 3 days later I was enrolled, and 13 months later I was a licensed cosmetologist.

What other certifications do you have that entices brides to your expertise?

I go to classes constantly, I am always educating myself. I work exclusively with Aveda products. I attend all their educational training seminars. I am also an educator for Schwarzkopf hair color. I teach new salons how to use the hair color. As far as bridal work it is just a matter of classes, there is no certification. The more you do it the better you get.

: Take the Makeup Mania readers through an initial phone call contact with you, with the intention that we are a potential client.

When you call, I always congratulate you and ask when the wedding day is. I do this right off so I don’t go through an entire interview to discover I am booked. I ask the location and if I am driving to it. If the wedding is in the local vicinity the first 10 miles are free. Otherwise I charge $1/per mile, one way. I then start my prices, $45 for hair and $35 for makeup. I require a trial run for a bride. I do not go in blindfolded. They come into the salon for the trial run and bring their headpiece. The wedding day is their choice as to coming to the salon or me going to their location. 99% of the time I travel to the location.

What happens when a bride books a trial run with you in the salon?

I usually have brides bring photos of any hair or makeup ideas they have so I can get a general idea of their interests. We talk about the dress style and color, flowers, general colors throughout the wedding and environment (indoors or outdoors). This gives me a chance to evaluate what I am working with. I start by setting the hair and then begin applying the makeup. I start light with my makeup application and build to the intensity that the bride wants. I focus on eye, skin and hair color for natural guidelines for makeup choice. Most brides want to look natural like they are wearing no makeup. I try to harmonize dress, flower, eye, skin, and hair color together for an overall completed look. After we work through the makeup application I begin to style the hair. I try to compliment the face shape when working with the hair and style it appropriately with the headpiece.

Do you use Aveda products exclusively?

Yes. The makeup is all natural, the display is nice and it sells its name. Brides have the option to buy products from me, they can customize their color palette and have everything right there on their wedding day.

Outside of cosmetology school, have you had any other makeup training?

I did take a theatrical makeup class through Pasadena City College. John Hanna was my instructor; he trained at the Joe Blasco Makeup Center in Hollywood, CA.

What has been the most challenging wedding you have done?

The most challenging wedding I had was July 4th last year. I had two weddings. The first one was out in Malibu at 7am. There were 2 girls there. At 9am, I had to be in the Malibu Canyon area to do 8 girls. I ended up staying until 3pm. The first bride was still asleep when I arrived and that threw me off. The second wedding was a push!

What is your top 3 beauty tips for brides?

Develop a skincare regimen, be faithful about it. Cleanse, tone and moisturize. Drink plenty of water if you have dark circles. Get plenty of rest. Have your lip and eyebrows waxed. Wear sunscreen!!!

What is your top 3 hair tips for brides?

I suggest you color and/or weave highlights 2 to 4 weeks before your wedding. Don’t condition your hair the night before, it will shine with all the products on it. It is also harder to tease and work with. Get a trim on the ends of your hair 2 weeks prior to the big day. If your wearing curls the ends will look fresh and healthy.

What are the latest 1999 wedding trends for bridal hair and makeup?

More pastel colors on eyes and lips. Lots of soft shimmer looks. The renaissance tiaras are in for hair, not too many veils. If they do have a veil it has no gathering in the back and it is just plain. The bride should keep in mind that they can detach their headpieces at anytime, and realize they are not stuck with their veil all day.

How do you keep cool under all the pressure of a bride’s wedding day?

I try to keep the bride calm and cool. I ask to be alone with the bride so I can work efficiently. I am very laid back in my approach and that helps ease the worries of the bride. I know exactly how long it takes me to complete my job, so I rarely ask, “how much time do we have?” I am always on track with what needs to be done and how long I have.

Why would I want to book with you for my bridal hair and makeup? What sets you apart from your competition?

The atmosphere of the salon I work at is very casual. We welcome you as family and it is not intimidating. I am not a high strung person. I am honest and upfront in my makeup and hair approach. I run my business like a business.
Melinda’s work can be seen in Latina Bride, Spring and Summer ’98 issues, the March/April cover issue of Super Onda Magazine, and beauty tips in Los Angeles Wedding Pages Summer ’99 issue, “Total Beauty” article. She also attends local bridal shows and expos. She is located at Unique Beautique, 106 East Colorado, Monrovia, CA 91016. She is available by appointment only, (626) 303-8786 or toll free (888) 493-9666, or at Hairrzr@earthlink.net. Look her up for all your hair and makeup bridal needs!

Creator of “STATE OF THE ART,” revolutionary silicone Flesh Putty and the proud father of 2 year old, Jasmine!

I interviewed Art here at our home base Makeup Mania. I got the inside scoop on Art’s new line of products. We will soon be offering “State of the Art” products to all you SPFX’S manias! Art’s career is diverse and interesting. Read up on all his interesting talents.
How did you get started as a makeup artist?

Actually, I started as an actor and spent ten years on stage. At age sixteen I had my equity card. I was performing with stars in night shows and did children’s theatre during the day. I became a children’s theatre specialist. I had great parts like Pinocchio and Rumplestilskin. These roles called for noses and weird makeup so I started making my own creations because there was nothing else on the market. My acting experience led me on the makeup path and got me started on the other side of the camera. I eventually started designing makeup for various productions.

Who was your makeup mentor?

Ed Meekan was my mentor. He was an actor/makeup man in Chicago. Chicago is where I started out and Ed brought me on with him on various shoots. Eventually, I became very specialized in makeup and sometimes I brought Ed on jobs with me.

When did you decide to become a full time makeup artist?

I gave up the stage because I started to grow out of “my type.” I am not exactly the leading man type. I then went from acting to working behind the scenes. I was turning down more makeup jobs than I was making acting. It became a matter of economics!

Where did you spend the majority of your makeup career?

I spent most of my career in Chicago as a union makeup artist for 14 years. I covered the gamut of looks in the city and decided to come out to Los Angeles and play with the big boys. Twelve years and a great resume in Chicago brought me out to California, 3 years ago.

Did you work in all media areas or did you specialize in a certain makeup area?

I worked in all media areas. The longest running gig I worked on lasted two years, it was a television series, “The Untouchables.” I got to cover beauty through special effects.

Did you have any formal training as a makeup artist?

I wish I had been in a position to work with someone and train. I grew past what my mentor could teach me and grew on my own. I am what you call self-taught. The strange thing about being a makeup artist is no one can give you the eye. Someone can give you a clue about technique and help you hone your skill. But the artist’s eye is something unique in its self. I actually started the only apprenticeship program in Chicago to train makeup artists. I saw a need and began training makeup artists in my shop.

Do you like to consider yourself an all around artist?

Yes, very much. I pride myself in that. There is some wonderful talent out there, but it is a rare commodity to find someone who can run the gamut.

Tell makeup mania readers about your Flesh Putty product you created?

: Flesh Putty is a silicone putty product that I developed because there was a gap in the product market. The old mortician’s wax that was still being used was just not up to standard needs of the 90′s. I created this molding material to fill the gap and give makeup artists’ a new and improved tool to work with. The Putty is flexible yet holds texture and shape. It is universal, safe, comes in 12 translucent colors and is realistic with a skin-like appearance.

How user friendly is the product?

For a young person interested in trying the product out it is not complicated at all. Simple instructions can guide anyone through the putty process. It’s a hands on product with no frills. You can mix any color flesh putty you want and build noses, cuts, bullet holes and much more. With an artists hands the putty has endless possibilities!

What projects do you have coming up?

I am currently between jobs right now, I am shopping for a show! I am in development on some new products and I will also be out promoting the line.

What is your best beauty tip you can give to our readers?

People think just wearing concealer covers up everything. Correct out all discoloration on the skin, don’t just cover it up.
For more information about “State of the Art” products you can look forward to Art Anthony’s upcoming webpage at ArtAnthony.com – until then you can get further information at ArtsEfx@aol.com!

I had a fabulous date with Gregory, after he finished a hectic day doing makeup! Gregory is a freelance makeup artist based in Los Angeles whose focus is in fashion, video, and beauty editorial. He is also a Senior Artist with MAC Cosmetics’ Pro Team and has lots of Hollywood beauty scoop. Read on all you makeup maniacs!
How did you start in the makeup industry?

I was dragged into it kicking and screaming (in a good way)! I started doing makeup about ten years ago. I worked at a retail shop in Santa Monica called Fred Segal. Fred Segal carried a huge range of makeup; it is a true shopping experience. They asked if I had makeup experience, I said, YES. I used to tie down my two sisters and practice on them. They had no choice, neither did their dolls! That’s how I started in the makeup industry.

Did you have an artistic background growing up?

All my life! It’s in my blood. My father is a graphic designer and a fine artist. I have always painted from childhood on. While most kids were out playing ball on the weekends, my Dad set up easels for us in the yard. We would paint all day long. This was a wonderful experience. I have always been obsessed with sketching and drawing caricatures. Obsessively as a child I would draw eyes, lips, and faces. I guess my calling was makeup.

Did you have any formal makeup training?

I never went to school for makeup. I did look into makeup schools, but decided against that route of training. I was more interested in the beauty and editorial side of the makeup industry. I think schools are great for people with no artistic background, or people interested in special effects makeup, TV or film makeup. That’s not where my focus is in makeup. I didn’t feel the need to learn how to make someone bald, older, or scraped up.
I just practiced my craft. I was lucky enough to have a roommate who was a makeup artist. Her name was Andrea Kessel. She worked in TV, film, and beauty makeup. We used to have creative night where we would invite people over once a week for a big makeup party. Andrea helped me get to the next level with makeup. She was a great teacher!

After working at Fred Segal, did you begin working with a major cosmetic company?

Yes. I started working for MAC (Make-Up Art Cosmetics). I have been with MAC for six years. Fred Segal was an amazing learning experience. It was like going from elementary school at Fred Segal, then jumping to college graduation working for MAC.

When did your freelance makeup career begin?

About one year after working at Fred Segal I began doing outside freelance work. Music videos, beauty editorials, testing with photographers, and fashion layouts with models, were some of the jobs I experienced as a freelance artist. I did all this while maintaining a full-time job.

What areas of media do you frequently work in?

TV, print editorials, music videos, runway, and press releases. I also work with several hair companies doing their campaigns.

When did you first discover your interest in MAC?

I started using MAC cosmetics in the early 90′s as a freelance artist. I used to buy MAC at Nordstrom’s and Umberto Hair Salon. One of my friends at the time worked for MAC and was always begging me to work for MAC. He said, “you would love it, and they would love you!” As a freelance artist, the only company I would ever want to work for would be MAC. I believed in the products, always used, and trusted the products on all my jobs. In 1993, I decided to take the jump from Fred Segal into MAC.

What is your daily routine as a freelance makeup artist going on a job?

A typical day usually starts the night before, which is me inventorying my kit. I am very obsessive about my kit. The night before I shampoo and condition my brushes. I lay them all out in front of the heater so they can dry nicely, and are perfectly clean. I make sure all my supplies are marked for identification purposes, so I know what is mine. The following day, I do a final check, making sure I have every last supply necessary. From tweezers to tissue and see that everything is in its place!
I go to the location, wherever that might be. I introduce myself to every last person so I know whom I’m dealing with. I find out who’s who, and who’s in charge. Sometimes on these sets there are many chefs in the kitchen and you have to make sure you’re answering to the right person. A normal shoot day might last six hours but has gone on for eight! I usually listen to upbeat music on the way to the job to put me in the mood. On the way home, I collapse and listen to peaceful music. That’s a typical day!

When you are booked for a job, do you meet with the photographer and/or designers to find out what kind of look they want? Or do you have full creative freedom?

Usually there is a game plan. I make sure I talk with the photographer at the shoot to find out what look they want. Most really good photographers will throw you a scenario. For example, “this is an English rose that went to Italy for the summer.” You can be creative and design the look, but it is usually planned out. Fashion shows are pretty specific. I meet with the designer about a month before the shoot. I go over the designs, look at the clothes, fabric, textures, and the hair so I can get a story for it. We work together to get the whole look complete. The day of the show the designer may decide to change something. I always like to be prepared, so I make sure I pack up all types of makeup colors for backup. YOU HAVE TO BE PREPARED!!! I like the challenge of things changing last minute; it keeps me on my feet.

What is a typical rate you charge a client for makeup services?

Typically, all rates depend on the overall budget of the project. The typical day rate for makeup artists right now is between $500 and $700 a day. I know some makeup agencies pay their artists $750, some $500, it depends where you are in the agency and with makeup. Average rate is $600 a day for a seven to eight hour day. Overtime can average $50-$100 dollars an hour.

Do you establish your rate with a client on a first initial phone call or meeting?

Yes. I definitely try to work out all the financial details initially. Things change after the fact depending on budget changes. If my rate changes due to budget issues, I will adjust the amount of time I spend on the job if necessary. You have to adjust where and when needed, you have to get paid what your worth. You have your kit to think about, supplies and all that comes into play.

What amount of money will you decline work?

In the infamous words of Linda Evangelista,”I won’t get out of bed for less than $200 dollars a day.” It’s just not worth my while. It starts averaging out less an hour than I make on a typical workday. I try to also consider competitive rates that makeup artists are making freelancing for cosmetic companies or on a TV show. You have to be competitive in this industry. There will always be an exception to the rule based on how amazing the job is. If there is an opportunity to meet people, make connections, or a chance to get a unique photo or tearsheet out of it, I would definitely consider the job!!!

If we took a peek in your makeup kit what would we see?

My kit is 99% MAC makeup products. I use MAC like no other. I am really obsessed with tools. I love Tweezerman products, scissors, and individual lash curlers. You would see every shade of foundation you could ever hope to see. Like I said, I like to be prepared, I can’t be caught off guard.

What sets you apart from other makeup artists? Why would I want you to give me a makeover?

My focus with makeup and ultimate goal is to enhance someone’s face in a way they have never seen before. I don’t like to accessorize people. I like to enhance them. My philosophy towards makeup is to let it come out of you as opposed to me putting it onto you. I like makeup that makes sense! I like to bring out someone’s real personality with makeup. That is my favorite part. I don’t like people to feel like they have a mask on, or like a clown. I want my clients to feel ten times more beautiful. I love people to look in the mirror and say “oh my god, I have never seen myself look like this before.” That to me is the ultimate high, more than prestige or money.
You would want me to give you a makeover because I would make you feel good! I appreciate beauty, that’s why I’m in this business. People have something incredibly beautiful about themselves that they might not acknowledge. It is my job to let them know what that is. I don’t believe in insincerity or pulling the wool over someone’s eyes. I love the face and love beauty. I think what you would benefit from by sitting in my chair is a lot of honesty and positive feedback. I also love to teach and educate. I don’t want people to feel like they have to continue coming back to me over and over again. I want to teach them the basic tools and knowledge to do it themselves.

Give Makeup Mania readers your best beauty tips.

Less is more and you are out the door! Most people feel they have to pay attention to every square inch of their face. Often you should play up a feature you feel is your best. Don’t be afraid to take chances! Most people are afraid to change their makeup because they feel their face is how others perceive them. I think people are nervous to go that extra step whether it is changing a color or texture. The minute you say “frost” people think your taking them back to Studio 54 in 1970. There are so many things you can do now.

Give Makeup Mania readers a “hands on” beauty tip we can do at home.

Moisturize, moisturize, moisturize! That’s all I have to say. Moisturize to the tenth power! So many people don’t do that. Putting foundation on skin not moisturized is like spilling water in the Sahara. Your makeup is only going to look as good as your skin. Take care of your skin ladies, and don’t ignore those eyebrows! You want more eyelid space? Get out those tweezers for an instant eyelift.

What is your advice to aspiring makeup artists?

Practice, practice, and practice. Get your friends over to the house and do their makeup. Look in magazines, see what you love, and see what you hate. Practice a new technique, that’s the only way you’re going to learn and get experience. Look into makeup schools, there are some amazing schools out there that offer a variety of different services. A lot of cosmetic companies offer seminars and training on how to do makeup. Educate yourself and really check things out.

How do you keep up with all the new trends and styles? How do you incorporate them into your makeup repertoire?

I am obsessed with European magazines because they are spot on with trend. They are forecasting things into the future that we could not even imagine. I think that American magazines are so safe and not quite as avante guard. I love looking at fashion in terms of what textures are being used in clothes and in what colors. Makeup will definitely reflect on that. I read a lot and also look at young people on the street. Young people are spot on with trend. I try to take something I’ve seen, read about, or heard about and throw my own twist into the overall makeup look. I have even done makeup based on dreams that I have had. You have to adopt trends to fit into a person’s makeup personality and be versatile.

Being a male in the makeup industry, how has that been a challenge in a predominately female-based beauty industry?

If anything it has actually worked to my advantage, believe it or not! About 98% of the time I hear feedback from women who prefer having men do their makeup. A lot of wmen say, “I prefer men to do my makeup because men know what women want, men have a sense of what looks sexy or pretty on us.” In general, makeup should be genderless and to me is an art.

What is the most exciting or challenging opportunity you have had as a freelance artist?

Two things, one on a positive note and one on a negative note. I have worked with some celebrities who are very particular about how they want to look. I find the biggest challenge is when people are afraid to open their minds to something different. That is a huge brick wall when you’re trying to work with someone who has done his or her makeup the same way for so many years. They were told they looked good in that look back when they started doing their makeup that way. Some are not willing to take that chance and that’s a hard challenge.  Personally, I find the most challenging and gratifying people to work with are drag queens. I love working with drag queens because they are not afraid to go over the top, be garish, and larger than life. Even with drag queens I still have to make them look beautiful. I can’t make them look like clowns. I love RuPaul, she has the most amazing makeup and look. I think that is the most challenging/fun thing for me to do. I have a large celebrity drag clientele. Overall, I have had some great opportunities.

I met Doug at his home in Los Angeles. He just returned from working on his most recent project “A Lesson Before Dying,” starring Cicely Tyson. Doug was Ms. Tyson’s personal makeup artist and created a unique character makeup for her role.

How did you get started as a makeup artist and how long have you been in the business?

I have been a professional makeup artist for 14 years. My story is very interesting on how I got started. I took freshman choir as an easy credit when I was in high school. I was 15 years old and my voice had not changed yet. My choir director had a great idea to do a play that had not been done in years because they never had a male with, dare I say, a “soprano voice.” I was roped into singing the lead role. Unfortunately, high school kids can be ruthless. That was my last year of choir and the end of my singing career. My involvement in the play introduced me to the world of stage makeup.

I found makeup to be fascinating. I had been an artist for many years drawing, sketching, and painting. My makeup career was born. I attended beauty school right out of high school to get more training in makeup and hair.

My first professional makeup show was Sweeney Todd at a playhouse in Columbus, Ohio. I learned both crafts’ of hairdressing and makeup. It was initiation by fire. I had no business being there but I had some gracious people looking out for me. I did the professional theatre circuit in Pennsylvania, New York and Ohio.

What happened after your theatre touring stint? How did you get into television and film makeup?

I would say it’s a lot of backing into things, but more being guided in the right direction. The costume shop where we got our makeup when I was 15 hired me. The owner of that shop went to school with a makeup artist named Stan Place. Stan is now Maybelline’s cosmetic authority. Stan told me if I went to beauty school after high school he would put me to work.

I got out of beauty school and went on the road with Maybelline. I was a platform makeup artist at trade shows. I also worked with Revlon for a short time. While working with Maybelline and Revlon I was still dabbling in theatre, doing special effects. I started doing commercials and my name began circulating.

The film business came about in 1990. I was working at a special effects house called Theatre Magic. I was making gobo’s, which are lighting templates. The shop was involved with a project called “Mr. and Mrs. Smith.” That show fell through but I had tapped into the vein of the “movie circuit.” I had my finger on the pulse of what was going on. “A Rage In Harlem” came to Cincinnati in the summer of 1990. I had a friend working on the film as a grip. He told me to come visit and see what was going on. So I did.

The makeup artist on “A Rage In Harlem” was Suzanne Sanders. I bugged the hell out of her. I would not leave her alone. She finally asked if I could do black makeup and I said “absolutely!” I worked a week on “A Rage In Harlem.” We did 50-60 people a day. That was my start in film. Suzanne said she would take care of me and help me if I came to Los Angeles. So she did. I came to LA and she put me to work on several movies: “Critters 3″, “Nightmare on Elm Street 6″, and “Deep Cover”, among others.

Suzanne Sanders really helped launch your career in the film industry.

Yes. I would bow to her grace. She is a wonderful human being. She kept me very busy and took care of me. She put me on my feet. She instilled in me a sense of what it is to be a makeup artist. The morals and ethics she lived by were examples to me. She didn’t brow beat me at all. The style in which she lived really set a tone through which I followed.

What great guidance!

I truly believe I was lead to great people out here in Los Angeles.

Did you have any other formal training as a makeup artist, besides getting your cosmetology license?

Zero. When I went to beauty school I taught the makeup portion of the class. My instructors saw where I was and where I was going. At that point I had more up to date knowledge than the textbooks did.

So you are a “natural artist”?

Yes, since I was a kid.

Who are your mentors?

Bill Corso has been a wonderful human being. Bill does effects, straight makeup, and is an amazing artist. The bottom line with Bill is “Why Do Fools Fall In Love,” “Susan’s Plan,” “Batman and Robin,” “A Lesson Before Dying,” and “Mama Flora’s Family.” All these jobs go back to Bill. He’s another person who doesn’t shove stuff in your face.

I am drawn to people who live by example. Bill Corso, Suzanne Sanders, and Mark Boley are all in this category. They practice what they preach. Mark Boley hired me at the costume shop many years ago and got me into the theatre circuit. He had no business hiring me. His influences were early on. He believed in me and thought I was impressionable enough that I would retain. I quickly learned. Mark was a big factor in my makeup career starting out. He currently works with Steve Johnson making hairpieces and doing makeup.

If you had to pick one type of media to stay in what would it be?

Film. It is absolutely the most creative, most critical and there is nothing forgiving about film. What you see is what you get. Its got to look real to the human eye. They usually give you the time in film to do what you need to do. In film, if they say 65 days you can bank on 70-72 days. TV if they say 44 days they mean 44 days. The creative freedom that comes with film is the most exciting venue that you can travel in.

Which film has been your favorite?

“Deep Cover” is my favorite. I had so much fun. I was very green. I didn’t even know about personal makeup artists at that time. I worked with Jeff Goldblum, and Lawrence Fishbourne. I took good care of Fishbourne but I never pursued being his personal makeup artist.

What was your least favorite project?

“Hellraiser: Bloodline.” I got fired off that film and it had gone union. The work was fine. I enjoyed what I was doing. The personalities did not mix well and that created a lot of tension in the department.

So you became a member of I.A.T.S.E. Local 706 while working on “Hellraiser: Bloodline?”

Yes.

Tell me about your most recent project “A Lesson Before Dying.”

I did a character makeup on Cicely Tyson. She plays the aunt of a gentleman who is a school teacher. The school teacher has been chosen to speak to a young black man who was caught in a bungled robbery. The two men that killed the storeowner in the robbery were also killed. The man who didn’t pull the trigger but picked up the blood money is going to die. The time is 1947.

Ms. Tyson’s character called for beady, piercing eyes, a tight mouth, and a quick tongue. Cicely Tyson is a makeup artist’s dream. Whatever the script says that’s how she wants to pursue it. She loves character makeup! We’re talking about Ms. Jane Pitman after all! She was buried in prosthetic makeup 30 years ago before prosthetics were as commonplace as they are today.

To make her character come alive I did little skin tags around her eyes and utilized smaller cornea contact lenses. I painted her teeth yellow, gave her two silver caps and aged her with tattoo makeup paint. She did not wear foundation. I grayed her eyebrows, gave her a mole with a couple of hairs growing out of it. For someone as elegant and esteemed as Cicely Tyson to say put a mole on my chin with hairs coming out of it. That’s a dream for me as an artist! How many people do you know would let you glue a hair anywhere to their face?

Do you consider yourself an all around makeup artist? If you had to narrow down and do a specific type of makeup what would it be?

An all around makeup artist, absolutely! There is nothing that scares me. I know that I can do anything that is thrown at me. If I had to choose a specific makeup technique it would be character makeup. Character makeup covers everything. It can be a beauty makeup, then slap a prosthetic on, or add some tattoo makeup for age.

What are your favorite products? What is a main staple in your professional makeup kit?

Kiehl’s Lip Balm #1 is probably the only thing I can say because I use so many different products. I love RCMA bases, ISOMA bases, Visiora, MAC colors and lipsticks, Origins: lipstick, pencils, No Puffery for eyes and Spot Remover. Channel is great if you can afford it. Aveda colors have great pigment. I love Philosophy’s eyeshadow and blushes and they have a unique skin care line.

As a professional, would you say you keep up with the new products/lines that are out there?

Absolutely!

What is your goal as a makeup artist in the next 3-5 years?

I want to continue to grow and learn as an artist. I want to do character makeups that people will remember. Be proud of the work I do and less worried about what others think. I would like to earn an Emmy as a Department head on a TV project. The illusive Oscar would be grand!

What projects do you have coming up?

I am going to do some day work with Todd McKintosh on Buffy the Vampire Slayer. I think we are creating some Demons.

How would you describe your career and what you do to others?

Play. I can’t believe it when I get a paycheck. I’m having the time of my life!

Do you have any final thoughts or advice for our readers?

Wear Sunscreen.

This month’s star interview of the month is with three time, Emmy award winning makeup artist, Karen J. Westerfield, of Star Trek’s, Deep Space 9. I visited with her in the valley, at her home in North Hollywood, California. She is currently in her seventh season with Deep Space 9, and loves spending time with her three-year old daughter Allison.

How long have you been a makeup artist?

I’d say about ten years.

Did you have a different career prior to becoming a makeup artist?

Yes, I worked in crafts service in the film industry.

No!

I really didn’t care for it. “If I wanted to be your mommy I would have children”, I used to say. It’s a thankless job and you become this indentured slave person. In the old day’s crafts’ service was helping other “crafts” on set, now it’s just a mini catering service. I went to school to learn how to make films like every other person in town. I was given the advice that if you were ever offered a job and you didn’t have one, take it no matter what it is. Crafts’ service was a great way to meet a lot of people and eventually, hooked me into the makeup union.

How long did you do crafts service?

Not long 2 to 3 years.

How did you get started in makeup? Was something you always wanted to do or did you just fall into it?

I think I just fell into it. When I was in college I took a theatrical makeup class. I actually dropped the course because I thought I was no good. There was no way I could compete with the people doing old age and character makeups. They already had a lot of training in high school then continued in the college theatre department that scared me off.

What happened after you dropped the course?

I went to college for chemistry. I wanted to become a doctor, and help make a difference in the world. I remember being frustrated and coming out my first quarter at University of California at San Diego with a “B” average. I realized you had to get good grades and if you weren’t naturally smart, it was a chore to get the grades, being an average student. I found out 50% of my classmates failed out at the quarter. I remember being in tears because I had a “B” average. So apparently that average was a good thing. After three years of doing work in the summer at hospitals, I realized I was a bleeding heart. I could not work with people who were injured or hurt. I wanted to take them home with me and take care of them. I did not think being a doctor was for me, so I quit. That was a hard decision for me. I then worked as a quality control lab tech at a chemical plant. After a year and a half of that, I realized I was going no where and went back to school. I acquired a 35MM camera and went back into visual arts and specialized in still photography and film. I was always a big film buff. That’s why I wanted to take a makeup class so I could help out when we were making films. I still want to make films, that’s my ultimate goal. Makeup was a wonderful way to make good money, get dirty like a little kid and have fun! Being in the union, you make a good living and get great medical benefits. It turned out to be a good thing. But, I never thought of becoming a makeup artist before I was 30.

Did you apprentice with anyone? Where did you get your training?

I originally started out making Halloween masks that’s how I got interested in makeup, mostly effects. I was at Cerritos College and they offered a course in the plastics department making molds, life casts and things.. I learned life casts, facial casts, and learned how to make the positives. I first started sculpting on generic face forms, then making a bucket mold and rubber masks for Halloween. I met Michael Bastings who was interested in this stuff I was involved with. We hooked up and became good friends. We did some small budget films together. Later I started doing crafts’ service. I ended up on a movie called “Throw Mama from the Train”. An actress in the film Ann Ramsey, told the special effects makeup artists I was interested in doing makeup and special effects. Those artists just happened to be Tom and Berry Burman. They asked if I would be interested in doing an apprenticeship in their shop. I said yes, but I could only do it for three months. The best part of my apprenticeship was I meeting Matthew Mungle. When Matthew left Burman’s, he was working on his own films and offered me work. I went on to work at Rick Baker’s shop on Gremlins 2 for a year. I was the only non-mechanic working in the mechanics department. I did take beauty makeup classes at Westmore Academy, and that was through crafts’ service. They had a program where if you applied for a course pertaining to anything in the film industry and you paid for it yourself, once you completed the course satisfactorily, you were reimbursed 100%. You then had the opportunity to go into the union without doing your 30 days, if you could prove you were proficient. This was in 1987-89 and I got into the union in April of 1990. I have been in the union for eight years. No one really took advantage of this unique program I went through.

Would you say Matthew Mungle was your first mentor or someone you looked to for most of your SPFX training?

He was the person I looked up to the most because of his personality, his ability to be a good teacher, his openness and willingness to let you take a chance and support you on it. He is really great. This was when his shop was in his garage. Sometimes on Fridays we would take a long lunch and go see whatever new movie was out that had SPFX in it. It was his treat; we would have lunch together, movies, and popcorn. Then we would talk about the movie’s SPFX. We would work later to make up for the time we spent at the movies. He was my friend and boss. Those things made work fun and made me want to be a makeup artist more. It was just different working for other people besides Matthew. After working for Matthew, I went to Rick Baker’s shop then to a company called Roboshop. I did fiberglass work and small bodies for animatronics for amusement parks.

Would you say the different SPFX shops you have worked in are all like Matthew Mungle’s shop? Or are they getting more corporate or standard assembly line type work?

Matthew is pretty hands on in his shop, the shop is huge, compared to bigger shops where it’s all segregated. Matthew still designs and sculpts with the guys and does mold making. He has people that do those parts of the job for him but he’s still doing things in all areas compared to other shops. He’s like the Mom and Pop store of the SPFX industry compared to the big department stores.

What would you say was your first paying job as a makeup artist?

The first big film was called “Mirror of Death”. We didn’t get paid we got points on the film. They bought me out six months later and I got a check for $860.00.

How did you land your current job on Deep Space 9? How long have you been with the series?

I got into the union on April 20, 1990. A few days later I worked on the last day of Star Trek’s, Next Generation. I knew Michael Westmore, Department Head of Star Trek, from when I did crafts’ service. The first makeup I did was a Klingon and June Westmore gave me some advice on what to do. I have been doing Star Trek stuff a little over eight years. The next year, Next Generation was in it’s sixth season, the following year Deep Space 9 was starting up and Mike had me day checking there. One day Mike came up to me and asked, “How would you like to do a Ferengi tomorrow”? I said okay sure, what is it? He said “I’ll give you the makeup and show you what they look like and move your stuff up to the main trailer.” I said oh, all right, wondering why, only to find out the Ferengi’s makeup that I was doing was a principle on the show. He was 1 out of 7 principal cast members. He was number 7, Armin Shimerman, who plays Quark. He’s the Ferengi who runs the bar, gambling house, and the holosuites. That’s how I started doing Quark, and I have been doing him ever since. Now I work part-time and do him exclusively. It’s a hard show. It’s a full effects show- makeup, visual and costume effects. They shoot a one-hour episode in seven days. I can remember when I worked full time doing 60-70 hour weeks for ten months. You get burned out, people get cranky.

Does working part time on Deep Space 9 allow you the opportunity to work on other projects?

Yes, I get to day check on other shows. Recently, I worked on “X-Files”, “Inspector Gadget”, and a Tom Hank’s movie, “The Green Mile”. You keep your face and name out there. You can get caught on a series for a long time, and get “out of the loop” as they say in our industry. My advantage not working full time is I can take on other projects in film, TV, meet new people and spend a lot of quality time with my daughter.

Take us through a typical day on Deep Space 9.

On a typical day if Armin is working I have to be there at 4:30am. He arrives at 5:00am. I get a half-hour set up. They give me two hours to do his makeup. First, I apply the prosthetic head and face pieces, do all my edge work and then patch any air bubbles from the foam. I then Pax it and wait until that dries. We take a break for about 5 minutes (I call it the 7th inning stretch), then get back to work. I then paint everything. I usually finish in about 45 minutes. The time might be longer depending on Armin’s actions during each episode and the amount of glue. The makeup I do is pretty low maintenance for me and Armin takes good care of it. After his makeup is done, I put powder the face. Armin goes to rehearsal, changes into his costume, then returns to makeup. I then remove the powder and apply KY Jelly to the face. I do his hand makeup, fingernails, he cleans his false teeth, and were off and running.

Do you go on set to maintain the makeup?

Yes, I go on set and maintain the makeup and hang out. After lunch we do a touch up, more extensive than what we can do on the set. I stay with him the whole day no matter what. A lot of times they bring in a makeup prosthetics clean up crew to remove makeup, so the first shift can go home and rest. But, I stay there because that’s the deal I made with production. At the end of the day it takes about 45 minutes to remove Armin’s makeup. I take my time because I don’t want to hurt his skin. In seven years, he’s never had a problem so apparently I’m doing a good job.

What is the most challenging part of your job? What is the most enjoyable part of your job?

Most enjoyable part is working with Armin. He’s the greatest. I’ve been lucky, I would not be there now if it were not for him. It’s fun, I really enjoy doing the makeup. There’s not that much of a challenge since I do the same makeup. It’s become a habit, I don’t even think about it, its second nature. I haven’t been able to advance my creative abilities as far as being a makeup artist through Star Trek, because I only do one makeup. That’s why it’s great to work on other shows.

Would you say you’re a special effects makeup artist?

I tell people I specialize in SPFX because I like it better. I can and will do anything but if I have a preference, I would do SPFX.

Tell me about the Emmy’s you have received. What were they for and how have they changed your career?

I have 3 Emmy’s. They are all from Star Trek. The first one is from Next Generation for the episode “Cost of Living”, and I call that one “being in the right place at the right time”, Emmy. The second one was from the first season of Deep Space 9 for the episode “Captive Pursuit”, and this one I felt I really earned. I did one of the main guest stars, and of course, Quark. The third one was also for Deep Space 9. I received this one right after my daughter was born. It wasn’t as exciting as the others.

Did these Emmy’s change your career?

It doesn’t really change your career. Oscar’s might, Emmy’s don’t. Although, it did make a difference when I was up against someone for a job and later I was told I got the job because I already won three Emmy’s. It’s never gotten me more money. Mostly it’s nice to be recognized by your peers. I think your parents, family and friends get more mileage out of it. The last Emmy I won I converted it into an urn for my dad’s ashes, the base is hollow. My dad always bragged to his family and any passer by who would listen to him about me. He passed away right before my daughter was born. I had his ashes and I thought what am I going to do with these? I had his name engraved on the blank band. “Here lies Robert H. Westerfield”. People joke about Emmy’s, if you get one it’s a doorstop, two its bookmarks, and I say if you get three it’s an urn! It’s pretty funny, my Dad would have thought so.

There you have it! What is your advice to an aspiring makeup artist?

It’s really a great career. You have to put up with a lot of BS. I teach privately so if you really want to do anything keep at it and it will eventually come. Dick Smith who couldn’t draw once said, “If you do something for ten years you’ll get pretty good at it”. June Westmore always gave the best advice “practice, practice, and practice”. It’s a long road like any other career. Try not to get discouraged. And “practice, practice, practice”.