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vi

C O N T E N T S

Illustrations xiv
Foreword by Matthew W. Mungle xxiii
Preface xxv
Acknowledgments xxvii

INTRODUCTION BY UTA HAGEN 1

CHAPTER 1 FACIAL ANATOMY 3

BONES OF THE FACE 3

FACIAL PLANES 6

HEAD AND NECK: STRUCTURE 7

CHAPTER 2 COLOR THEORY 11

BACKGROUND ON COLOR THEORY 11

CHARACTERISTICS OF COLOR 14

COLOR MIXING AND COLOR SCHEMES 15

CHAPTER 3 THE STUDIO CLASSROOM 19

SPACE USAGE 21

VENTILATION 23

MAKEUP SUPPLIES AND HYGIENE PROCEDURES 23

CONCLUSION 24

CHAPTER 4 RELATING MAKEUP TO THE CHARACTER 27

CHARACTER ANALYSIS 27

HEREDITY 29

vii
vi

viii   Contents

ETHNICITY 29

ENVIRONMENT 29

TEMPERAMENT 31

HEALTH 34

AGE 35

PHYSIOGNOMY 38

CHAPTER 5 DESIGNING THE MAKEUP 41

THE MAKEUP DESIGNER 42

THE ACTOR AS DESIGNER 43

COSTUME DESIGNER’S INFLUENCE ON THE MAKEUP DESIGN 43

SKETCHES AND DRAWINGS 45

ADAPTING THE MAKEUP TO THE ACTOR 45

QUICK CHANGES 47

MAKEUP CHARTS 49

WORKSHEETS 49

CHAPTER 6 APPLYING THE MAKEUP 55

FOUNDATIONS 55

PROFESSIONAL BRUSHES 56

FACE POWDER 61

EYELINER 62

MASCARA 62

EYELASHES 63

LIP COLOR 64

CONCEALERS, NEUTRALIZERS, AND TATTOO COVERS 71

TATTOOS 72

APPLIANCE MAKEUP 74

AIRBRUSH COSMETICS 74
ix

Contents   ix

CHAPTER 7 CORRECTIVE MAKEUP 81

THE FOUNDATION 81

SKIN TYPES AND CONDITIONS 83

FACIAL ANALYSIS 86

CHOOSING MAKEUP FOR DARKER SKIN TONES 93

CHAPTER 8 MODELING WITH HIGHLIGHTS AND SHADOWS 105

LIGHT AND SHADE 105

FLAT AND CURVED SURFACES 106

HARD AND SOFT EDGES 106

DRAWING WITH HIGHLIGHTS AND SHADOWS 106

MODELING THE FACE WITH HIGHLIGHTS AND SHADOWS 108

STIPPLING 111

AGING THE YOUNG FACE 113

FOREHEAD 114

EYES 117

EYEBROWS 117

NOSE 119

CHEEKBONES 122

JAWLINE 123

MOUTH 124

CHIN 125

NECK 125

HANDS 125

TEETH 130

RESHAPING THE FACE 131

x

x   Contents

CHAPTER 9 NATURAL MAKEUP FOR FILM AND TELEVISION 137

HIGH-​DEFINITION DIGITAL TECHNOLOGY 137

CHOOSING THE PRODUCTS 142

NATURAL MAKEUP FOR THE FEMALE PERFORMER 144

MAKEUP FOR THE MALE PERFORMER 159

TATTOOS 160

THE MAKEUP DEPARTMENT 162

WORKING WITH A MAKEUP ARTIST 162

RESPONSIBILITIES OF THE PERFORMER 162

USEFUL FILM TERMINOLOGY 164

CHAPTER 10 SPECIAL EFFECTS MAKEUP 167

NOSE PUTTY 167

DERMA WAX 168

PUTTY WAX 169

GELATIN 169

LIQUID LATEX 170

OLD AGE STIPPLE 172

CHARACTER MAKEUP APPLICATION 173

LATEX, SPIRIT GUM, COTTON, AND TISSUE 184

ZOMBIE MAKEUP APPLICATION 185

BALD CAPS 195

BLACK EYE 207

BRUISES 207

BURNS 208

PROSTHETIC TRANSFERS 210

EYE BAGS 218

xi

Contents   xi

PERSPIRATION AND TEARS 222

PIMPLES/ACNE 222

SCABS 224

SCARS/​WELTS 224

STAGE BLOOD 225

TEETH/​DENTURES 228

MAKING DENTURES 232

WARTS/​MOLES 239

CHAPTER 11 PROSTHETIC MAKEUP 241

CASTING FOR PROSTHETICS 241

FACE CASTING WITH ALGINATE IMPRESSION MATERIAL 245

FACE CASTING WITH SILICONE 246

POSITIVE ULTRACAL-​30 FACE CAST 250

POSITIVE SMOOTH-​C AST 385 FACE CAST 250

CLAY MODELS: CREATING A NOSE IN SILICONE AND GELATIN 253

MAKING A POSITIVE LATEX CAST 264

FOAM LATEX 271

FOAM LATEX PROSTHETIC MADE IN AN “OPEN POUR” MOLD 274

FOAM LATEX PROSTHETIC MADE IN AN “INJECTION” MOLD 275

REPAIRING FOAM LATEX 279

ADVANCED MOLD MAKING 288

SCULPTING 289

MAKING THE NEGATIVE MOLD 289

MAKING A GELATIN WRAPAROUND APPLIANCE 290

SILICONE 297

CYRANO MAKEUP APPLICATION 309

xi

xii   Contents

CHAPTER 12 BEARDS AND MUSTACHES 315

HAND LAYING THE BEARD 315

REMOVING THE HAND LAID HAIR 322

BEARD STUBBLE 322

VENTILATING FACIAL HAIRPIECES 328

WIG LACE 329

MAKING A HAIRLINE TRACING FOR A BEARD 332

CREATING A CUSTOM PADDED BEARD BLOCK 333

BLOCKING THE LACE 334

VENTILATING THE BEARD 334

CUTTING AND STYLING OF VENTILATED FACIAL HAIR 336

APPLICATION OF VENTILATED PIECES 336

DRESSING VENTILATED PIECES 337

REMOVING FACIAL HAIR 337

CLEANING AND SANITIZING FACIAL HAIR 338

CHAPTER 13 WIGS 341

NATURAL HAIR 341

HAIRPIECES 345

FALLS AND CHIGNONS 346

MAKING AND USING HAIRPIECES 346

ANATOMY OF A WIG 349

ADDING A NATURAL HAIRLINE 353

PUTTING ON AND SECURING A WIG 359

REMOVING THE WIG 361

CLEANING WIGS 361

ATTACHING MICROPHONE BATTERY PACKS TO THE WIG 362

xi

Contents   xiii

CHAPTER 14 CROSS-​GENDER MAKEUP 365

MEN AS WOMEN 365

WOMEN AS MEN 368

PLANNING THE MAKEUP 371

CHAPTER 15 NONREALISTIC MAKEUP 385

NONREALISTIC STYLES 385

RELATING THE MAKEUP TO THE AUDIENCE 389

BEIJING OPERA 390

NONREALISTIC AND NONHUMAN CHARACTERS 394

Appendix A Makeup Materials and Glossary 415

Appendix B Sources of Makeup Materials 433
Appendix C Health and Safety 445
Appendix D Special Effect Contact Lenses by Aimee Surtenich 457
Index 461
vxi

I L L U S T R A T I O N S

Figure 1.1 A diagram of the bones in the skull and hollows (or fossae) 4
Figure 1.2 A skull makeup inspired by Gray’s Anatomy 5
Figure 1.3 A sketch of the planes of the face 6
Figure 1.4 Sketch of the eye 7
Figure 1.5 Sketch of the mouth and chin 7
Figure 1.6 Sketch of the ear 8
Figure 1.7 Half skull makeup 8
Figure 2.1 Color theory illustration 12
Figure 2.2 Characteristics of color illustration 13
Figure 2.3a Cool makeup color palette 14
Figure 2.3b Warm makeup color palette 14
Figure 2.4 Color scheme examples 16
Figure 2.5 Color theory chart 17
Figure 3.1 AMUA beauty makeup classroom 19
Figure 3.2 CSUF makeup classroom 20
Figure 3.3 AMUA demonstration area in the beauty studio 20
Figure 3.4 CSUF makeup classroom with projection screen 21
Figure 3.5 AMUA FX lab student work stations 21
Figure 3.6 AMUA FX lab work station 22
Figure 3.7 CSUF storage room adjoining classroom 22
Figure 3.8 AMUA storage in the wig and hair studio 23
Figure 4.1 Angela Lansbury as Mrs. Lovett in Sweeney Todd: The Demon Barber of Fleet Street 28
Figure 4.2 Claire Taylor as Sally Bowles in the musical, Cabaret 30
Figure 4.3 Charl-​Johan Lingenfelder as the Emcee in the musical, Cabaret 31
Figure 4.4 Character makeups on the same actor showing differences in age and temperament 32
Figure 4.5 Michelle Lee as Madame Morrible 33
Figure 4.6 Jamie Ann Romero as Viola and Thomas Kent 34
Figure 4.7 Soprano Beverly Sills as Queen Elizabeth I 36
Figure 4.8 Soprano Sondra Radvanovky as Queen Elizabeth I 37
Figure 4.9 The Rocky Horror Show 39
Figure 4.10 Five character makeups on the same actor 39
Figure 5.1 Scene from the Broadway musical, Anastasia 41
Figure 5.2 Makeup face chart for the character, Anastasia 42
Figure 5.3 Makeup face chart for the character, the Dowager 42
Figure 5.4 Costume designer renderings used as character sketches 44
Figure 5.5 Character rendering of Sir Toby Belch in Twelfth Night 45
Figure 5.6 Costume rendering of Count Dracula 45

xiv
xv

List of Illustrations   xv

Figure 5.7 Makeup worksheets for The Wedding Singer 46

Figure 5.8 Making a character drawing from a photograph 47
Figure 5.9 Pencil drawings by Esther Marquis for Ebenezer Scrooge 48
Figure 5.10 Scrooge in Charles Dickens’ Christmas Carol, A Ghost Story of Christmas 48
Figure 5.11 Deborah Cox as Lucy in the Broadway production of Jekyll and Hyde 49
Figure 5.12 Makeup sketch by Joe Dulude II for Deborah Cox as Lucy in Jekyll and Hyde 49
Figure 5.13 Makeup worksheet for King Pellinore 50
Figure 5.14 Blank makeup worksheet 51
Figure 5.15 Meryl Streep and Christopher Lloyd in the musical, Happy End 52
Figure 5.16 Makeup Worksheet for a 1920’s makeup design 52
Figure 5.17 Original costume and makeup design by Martin Pakledinaz for the Tango Woman from
the ballet, Zirkus Weill 53
Figure 5.18 The makeup for the Tango Woman from the ballet, Zirkus Weill 53
Figure 6.1 Heidi Blickenstaff backstage applying her makeup as Ursula in The Little Mermaid 55
Figure 6.2 Foundations 56
Figure 6.3 Wolfe Face Art & FX palette (monster) 56
Figure 6.4 Professional makeup brushes 57
Figure 6.5 Professional makeup brushes 58
Figure 6.6 Sponge applicators 59
Figure 6.7 Hand-​painted Pierrot-​style clown makeup 59
Figure 6.8 Snow leopard body art 59
Figure 6.9 Corset body paint by Liza Berczel 60
Figure 6.10 Shoulder and chest anatomy body paint 60
Figure 6.11 Body painting for commercial advertising 60
Figure 6.12 Kryolan Aquacolor 60
Figure 6.13 Setting powders 61
Figure 6.14 No-color/​colorless face powder 61
Figure 6.15 Heidi Blickenstaff backstage in makeup as Ursula from The Little Mermaid 62
Figure 6.16 Vanessa Williams’ eye makeup from Kiss of the Spider Woman 62
Figure 6.17 Eyeliners 63
Figure 6.18 Mascara 63
Figure 6.19 Eyelashes 64
Figure 6.20 Lip color 64
Figure 6.21 Britney Simson. Makeup application for her role in Beauty and the Beast 65
Figure 6.22 Kryolan Dermacolor Camouflage System 72
Figure 6.23 Neutralizers, color correctors, and concealers 72
Figure 6.24 TEMPTU: Pro Transfer Tattoos 72
Figure 6.25 Tattoo sticker transfers by JIRO 73
Figure 6.26 Temporary airbrush tattoo 73
Figure 6.27 Kett Cosmetics Pro-​Kit Airbrush 74
Figure 6.28 TEMPTU airbrush pod system 75
Figure 6.29 Airbrush compressor 75
Figure 6.30 Gravity-​feed internal-​mixing airbrush by Iwata 75
Figure 6.31 Syphon-​feed internal-​mixing airbrush by Iwata 75
Figure 6.32 Syphon-​feed external-mixing airbrush by Paasche 76
Figure 6.33 Airbrush parts diagram 76
Figure 6.34 Basic airbrush cleaning kit 76
Figure 6.35 Airbrush cleaning pot by MakeBake 77
xvi

xvi   List of Illustrations

Figure 6.36 Airbrush manifold 77

Figure 6.37 Makeup artist Stephan Tessier using a gravity-​feed internal-​mixing airbrush 77
Figure 6.38 Makeup artist Matthew Mungle using a Paasche syphon-​feed, external-mixing airbrush 78
Figure 6.39 Makeup artist using a curved plastic stencil to create the eyebrows 78
Figure 6.40 Airbrush body painting by artist Stacey Bridges 78
Figure 6.41 Airbrush body painting by artist Cody Sadler 79
Figure 7.1 Carol Channing as Dolly Levi in Hello Dolly 82
Figure 7.2 Chita Rivera in the Broadway musical, Chicago 83
Figure 7.3 Ben Nye Matte Foundation Palette II 84
Figure 7.4 Makeup design and application by artist David Arevalo for a Billie Holiday look-​a-​like makeup 84
Figure 7.5 Keyloid scars (prosthetic transfer makeup by Stephan Tessier) 85
Figure 7.6 Eye illusions 88
Figure 7.7 Glenn Close in the Broadway production of Sunset Boulevard 89
Figure 7.8 Eyebrow products 90
Figure 7.9 Makeup lesson by Kate Best on actress Julia Sweeney 91
Figure 7.10 Corrective makeup for male youth 94
Figure 7.11 The Shirelles from the Broadway production of Beautiful 96
Figure 7.12 Vanessa Williams. Print makeup and styling by Kate Best 96
Figure 7.13 Makeup application for the character Carmen in the Broadway production of the musical
The Life 99
Figure 8.1 Principles of trompe l’oeil drawing 105
Figure 8.2 Portrait illustrating the principles of chiaroscuro 105
Figure 8.3 Modeling curved and angular surfaces 106
Figure 8.4 Drawing a sphere with highlights and shadows 107
Figure 8.5 Actor James Black as Scrooge in A Christmas Carol, A Ghost Story of Christmas 109
Figure 8.6 Modeling soft and hard edges 112
Figure 8.7 Aging a young face 114
Figure 8.8 Division of the face into areas 114
Figure 8.9 Aging a young face 115
Figure 8.10 Forehead 117
Figure 8.11 Highlighting the forehead 118
Figure 8.12 Modeling forehead wrinkles with paint 119
Figure 8.13 Changing the eye 120
Figure 8.14 Youthful eyes and eyebrows 121
Figure 8.15 Aging male eyes and eyebrows 122
Figure 8.16 Before and after age makeup 123
Figure 8.17 Changing the eye with makeup 123
Figure 8.18 Aging the brows and facial hair 123
Figure 8.19 Planes of the nose 123
Figure 8.20 Remodeling the nose with paint 124
Figure 8.21 Placement of highlights and shadows for crooked noses 124
Figure 8.22 Frankenstein character makeup 126
Figure 8.23 Cheekbone 127
Figure 8.24 Character makeup 127
Figure 8.25 Jawlines 128
Figure 8.26 Modeling sagging jowls 129
Figure 8.27 Planes of the upper and lower jaws 129
Figure 8.28 Changing the size of the lips 129
xvi

List of Illustrations   xvii

Figure 8.29 Example of lips made larger with lip liner and lip color 130
Figure 8.30 Creating natural aging on the lips 130
Figure 8.31 Aging the mouth. Painting on wrinkles with highlights and shadows 130
Figure 8.32 Muscles of the neck and jaw 131
Figure 8.33 Neck aged with cake makeup 131
Figure 8.34 Aging hands 131
Figure 8.35 Aging a male hand 132
Figure 8.36 James Black as Scrooge painting his fingernails 132
Figure 8.37 Discoloring the teeth 132
Figure 8.38 Painted character makeup 133
Figure 8.39 Creating a Joker fantasy makeup 134
Figure 8.40 Extreme painted old age 135
Figure 9.1 Glenn Close makeup and hair test for Albert Nobbs 138
Figure 9.2 Glenn Close as Albert Nobbs 138
Figure 9.3 Liquid foundations 139
Figure 9.4 Kryolan HD Micro Foundation Mattifying Liquid 139
Figure 9.5 Ben Nye Media Pro HD Foundation Palette 139
Figure 9.6 Mehron’s Celebré HD Pro Foundation 139
Figure 9.7 Skin care products 140
Figure 9.8 SyncOnSet 141
Figure 9.9 IMATS International Make-up Artist Trade Show 141
Figure 9.10 Makeup artist Stephan Tessier on location 142
Figure 9.11 Healing ointments: Aquaphor and Eucerin 142
Figure 9.12 Primers 143
Figure 9.13 Tinted moisturizer by Kryolan 143
Figure 9.14 Ben Nye Lux Loose Powders 144
Figure 9.15 Make Up For Ever Pressed Finishing Powder 145
Figure 9.16 MAC Pressed Blot Powder 145
Figure 9.17 Too Cool For School Blotting Paper 146
Figure 9.18 Concealer 147
Figure 9.19 Megan Brantley, TV News Anchor 148
Figure 9.20 Makeup artist Stephan Tessier on the Canadian Broadcast Corporation television news set 149
Figure 9.21 Makeup artist Stephan Tessier in the makeup room 152
Figure 9.22 Burt’s Bees Beeswax Lip Balm 154
Figure 9.23 Burt’s Bees Tinted Lip Balm 153
Figure 9.24 Makeup application for broadcast television 153
Figure 9.25 Tattoo cover 161
Figure 9.26 Birthmark cover 161
Figure 10.1 Nose putty/​scar wax products 167
Figure 10.2 Building up the nose with derma wax over cotton 169
Figure 10.3 Kryolan Rubber Mask Grease Paint Palette 170
Figure 10.4 Noses 171
Figure 10.5 Products used to make gelatin 172
Figure 10.6 Gelatin prosthetic age makeup for Sissy Spacek in the film, Blast from the Past 173
Figure 10.7 Character makeup with old age stipple 174
Figure 10.8 Zombie makeup application 186
Figure 10.9 Kryolan Glatzan plastic cap material, ceramic cap head, plastic cap head 195
Figure 10.10 Baldeze and Q-​Ballz 195
xvii

xviii   List of Illustrations

Figure 10.11 Making a latex bald cap 197

Figure 10.12 Applying a bald cap 201
Figure 10.13 Christopher Walken. Wig attached over bald cap 206
Figure 10.14 Historic makeup recreation of a fifteenth-​century portrait 206
Figure 10.15 Black eye, bruise, and scar 207
Figure 10.16 Bruises and scrapes 207
Figure 10.17 Black eye and facial cuts 208
Figure 10.18 Burn victim 208
Figure 10.19 Burn victim from the CSI television show 208
Figure 10.20 Severe facial burn 208
Figure 10.21 Skin burn using 2-​part silicone 211
Figure 10.22 How to make a prosthetic transfer 213
Figure 10.23 How to apply the Prosaide Transfer cut/​wound 215
Figure 10.24 Gelatin bullet hole 218
Figure 10.25 Sculpting and molding eye bags 219
Figure 10.26 Making the Bondo eye bags 223
Figure 10.27 Kryolan Tear Stick 224
Figure 10.28 Rigid Collodion scar 224
Figure 10.29 Scar transfers by Stephan Tessier 226
Figure 10.30 Types of blood products 228
Figure 10.31 Karo Syrup, chocolate syrup, and food coloring 228
Figure 10.32 Teeth casting 230
Figure 10.33 Making dentures Example #1 233
Figure 10.34 Making dentures Example #2 233
Figure 11.1 Alja-​Safe Impression Material by Smooth-​On, Inc. 241
Figure 11.2 Smooth-​Cast 385 Mineral-​filled Casting Resin 241
Figure 11.3 Foam latex gnome 242
Figure 11.4 Face casting with alginate 243
Figure 11.5 Face casting with Body Double SILK 247
Figure 11.6 Plaster comparison chart 249
Figure 11.7 Making the Ultracal-​30 face cast in the alginate mold 251
Figure 11.8 Making the positive face cast using Smooth-​Cast 385 254
Figure 11.9 Modeling a nose in clay on a plaster cast 257
Figure 11.10 Gelatin making and running gelatin nose 262
Figure 11.11 Making a slip rubber nose 265
Figure 11.12 Frankenstein makeup in foam latex 268
Figure 11.13 Foam latex gnome. David Evans as Puck 268
Figure 11.14 Glenn Close as Albert Nobbs 269
Figure 11.15 Clay sculpt for a prosthetic makeup of Popeye 271
Figure 11.16 Foam latex prosthetic makeup 272
Figure 11.17 Molded latex forehead prosthetic 273
Figure 11.18 Aged hands 273
Figure 11.19 Foam latex open pour mold 276
Figure 11.20 Foam latex prosthetic made in an “injection” mold 280
Figure 11.21 Dustin Hoffman as the 120-​year-​old Little Big Man 283
Figure 11.22 Making a plaster cast of Dustin Hoffman’s head and shoulders 283
Figure 11.23 Plaster model of Dustin Hoffman’s Head 283
Figure 11.24 Makeup artist Dick Smith making the clay model 283
xi

List of Illustrations   xix

Figure 11.25 Rough model of Dustin Hoffman’s head 283

Figure 11.26 Finishing the outer surface of the mold 283
Figure 11.27 Removing foam latex 284
Figure 11.28 Making molds of clay models of bags, chin, and nose 284
Figure 11.29 Painting “liver spots” on the foam latex mask 284
Figure 11.30 White hair being “punched” 284
Figure 11.31 Finished mask sections 284
Figure 11.32 Attaching foam latex eyelids and brow to Dustin Hoffman 284
Figure 11.33 Nose and lip piece 285
Figure 11.34 Attaching the ears 285
Figure 11.35 Attaching large foam latex pieces for cheeks and neck 285
Figure 11.36 Attaching the nose and lip piece 285
Figure 11.37 Applying adhesive to the interior of the forehead section 285
Figure 11.38 Head piece being put on 285
Figure 11.39 Applying shoulder hump and hands 286
Figure 11.40 Final tough-​up of foam latex makeup 286
Figure 11.41 Hands with latex gloves and fingernails 286
Figure 11.42 Making a new cast without undercuts (called a flared positive) 289
Figure 11.43 Sculpting the wraparound appliance 290
Figure 11.44 Developing a negative mold for the prosthetic appliance 292
Figure 11.45 Making the gelatin appliance 293
Figure 11.46 Materials used for applying the gelatin appliance 294
Figure 11.47 Applying gelatin appliances 295
Figure 11.48 Making a silicone nose (Cyrano de Bergerac) 299
Figure 11.49 Running the silicone 307
Figure 11.50 Cyrano makeup application 310
Figure 12.1 Preparing crepe human hair 316
Figure 12.2 Preparing crepe wool using a steam iron 316
Figure 12.3 Constructing a beard with crepe hair and spirit gum 317
Figure 12.4 Diagram for applying crepe hair beard 318
Figure 12.5 The lay-​on beard using crepe hair 319
Figure 12.6 Crepe hair beard and mustache 320
Figure 12.7 Beard stubble 320
Figure 12.8 Beard stubble applied with Naturo Plasto Mortician’s Wax 321
Figure 12.9 Ventilated mustaches 321
Figure 12.10 Ventilating tools 322
Figure 12.11 Mustaches and beards 323
Figure 12.12 Mustaches and beards 324
Figure 12.13 Close-​up of various holders and a ventilating needle 325
Figure 12.14 Using the drawing card for ventilating 325
Figure 12.15 Fronting laces 325
Figure 12.16 Correct handling of hair when ventilating 326
Figure 12.17 Ventilating a mustache 327
Figure 12.18 Full beard in sections 329
Figure 12.19 Making a beard 330
Figure 12.20 Applying ventilated facial hair 338
Figure 12.21 Versatile beard. Late nineteenth-​century beard styles 340
Figure 13.1 Johnny Depp as Sweeney Todd from the film, Sweeney Todd: The Demon Barber of Fleet Street 342
x

xx   List of Illustrations

Figure 13.2 Makeup application worksheet for Johnny Depp 343

Figure 13.3 Opera student makeup 344
Figure 13.4 Coloring products and tools 344
Figure 13.5 Graying products and tools 345
Figure 13.6 Hairpieces 346
Figure 13.7 Making and using hairpieces 347
Figure 13.8 Faith Prince as Ursula from the Disney Theatrical Productions Broadway production of
The Little Mermaid 349
Figure 13.9 Commercially made wigs 350
Figure 13.10 Interior construction of a commercially made wig 351
Figure 13.11 Hard-​front wig worn by actor Andrew Carlson as Cyrano de Bergerac 351
Figure 13.12 Lace-​front wig worn by actor Brendan van Rhyn as Frank N. Furter 351
Figure 13.13 Handmade lace-​front wig 351
Figure 13.14 Diagram of a wig measurement sheet 352
Figure 13.15 Fischbach & Miller Wigmaker Tool Kit 353
Figure 13.16 Anatomy of a custom-​made wig foundation 354
Figure 13.17 Covering the canvas block 354
Figure 13.18 Making a hairline tracing used for fronting a wig 355
Figure 13.19 Prepare the commercial wig to receive the fronting lace 357
Figure 13.20 Putting on and securing a wig 360
Figure 13.21 Synthetic wig for Beau Bridges as P. T. Barnum for A&E 361
Figure 13.22 Puck and Oberon from the play A Midsummer Night’s Dream 362
Figure 13.23 Attaching microphone battery packs to the wig 363
Figure 14.1a Jerick Hoffer (aka Jinx Monsoon) 366
Figure 14.1b Jerick Hoffer (Jinx Monsoon) as Hedwig 366
Figure 14.2 Brian Bedford as Lady Bracknell 367
Figure 14.3 Diego Montez as Angel in Rent 367
Figure 14.4 Model and makeup artist Cody Sadler 367
Figure 14.5 Cristofer Jean as Lady Capulet in Shakespeare in Love 367
Figure 14.6 The Club 368
Figure 14.7 Glenn Close as Albert Nobbs 369
Figure 14.8 Seana McKenna as King Richard in Richard III 369
Figure 14.9 Foam latex prosthetic cross-​gender Celine Dion look-​a-​like makeup 370
Figure 14.10 Female to male makeup 372
Figure 14.11 Male to female makeup 377
Figure 15.1 Mukelisiwe Goba as Rafiki from The Lion King 385
Figure 15.2 Fantasy character: Female feline 386
Figure 15.3 Fantasy character: Male feline 386
Figure 15.4 Frank N. Furter in The Rocky Horror Show 387
Figure 15.5 Mephistopheles. Makeup in two different styles 387
Figure 15.6 Contemporary portrait 388
Figure 15.7 Gnome drawing 388
Figure 15.8 Stylized latex mask by Jesse Rose Lowere 388
Figure 15.9 Thirteenth-​century mosaic head. San Marco, Venice 388
Figure 15.10 The duchess from Alice’s Adventures in Wonderland 389
Figure 15.11 Frankenstein makeup by Stephan Tessier 390
Figure 15.12 Mary Shelley’s Frankenstein 390
Figure 15.13a Beijing Opera makeup 391
Figure 15.13b Beijing Opera makeup 391
Figure 15.13c Beijing Opera makeup 391
xxi

List of Illustrations   xxi

Figure 15.13d Beijing Opera makeup 392

Figure 15.14 Beijing Opera makeup 392
Figure 15.15 Members of the Beijing Opera 393
Figure 15.16 Beijing Opera character Jing 393
Figure 15.17 The performer playing Quingyi 393
Figure 15.18 Foam latex gnome 394
Figure 15.19 Werewolf by Matthew Mungle 394
Figure 15.20 The Lion, from the National Tour of The Wiz 395
Figure 15.21 Sea creature mask by Marika Klein (latex) 395
Figure 15.22 Rabbit makeup by Rebecca Morgan 395
Figure 15.23 Rabbit makeup design, executed by Tara Cooper 399
Figure 15.24 Fantasy character: Faded feline 398
Figure 15.25 Fantasy character: Uncle Jinxy 400
Figure 15.26 Tiger makeup design 401
Figure 15.27 Tiger makeup lesson 402
Figure 15.28 Snow leopard by Mehron Cosmetics 403
Figure 15.29 Emmett Kelly—​Hobo clown 404
Figure 15.30 Contemporary clown makeup 404
Figure 15.31 Clown makeup lesson 405
Figure 15.32 Coulrophobia clown makeup 405
Figure 15.33 Clown horror mask 406
Figure 15.34 Frosty Little 406
Figure 15.35 Auguste clown makeup 406
Figure 15.36 Demon carnival mask 408
Figure 15.37 Devil/​demon latex mask 408
Figure 15.38 Orlando Bloom as Legolas Greenleaf 409
Figure 15.39 Satyr 409
Figure 15.40 The Beast from Beauty and the Beast 410
Figure 15.41 Pan mask (latex) 410
Figure 15.42 Pierrot makeup 411
Figure 15.43 Drácula di Dario Argento 411
Figure 15.44 Zombie scientist full-​face prosthetic 412
Figure 15.45 PopArt zombie makeup 412
Figure 15.46 Makeup artist Marie-​Laurent Tessier 412
Figure 15.47 Snazaroo face and body paint 412
Figure 15.48a Biker zombie makeup 413
Figure 15.48b Biker zombie makeup 414
Figure A.1 Duo Striplash adhesive 416
Figure A.2 Adhesive removers 416
Figure A.3 Gel adhesive removers 416
Figure A.4 TEMPTU airbrush makeup pod system 416
Figure A.5 Table-​top airbrush holder 417
Figure A.6 TouchUp Antishine by Mehron 417
Figure A.7 Encapsulator and bald cap plastic 417
Figure A.8 Barrier Spray by Mehron 418
Figure A.9 Ben Nye products 418
Figure A.10 Ultimate Blood Kit by Smooth-​On, Inc. 418
Figure A.11 Blood products from REEL Creations, Inc. 418
xxi

xxii   List of Illustrations

Figure A.12 Bondo transfer products 419

Figure A.13 Bruising palette by TEMPTU 419
Figure A.14 Brush cleaner by Crown Brushes 419
Figure A.15 Concealer/​adjuster palette by Ben Nye 419
Figure A.16 MagiColor face and body paints by Ben Nye 420
Figure A.17 Gafquat 421
Figure A.18 Graftobian liquid latex 422
Figure A.19 Makeup case from Kryolan 423
Figure A.20 Makeup products by Kryolan 424
Figure A.21 FX makeup palettes by Kryolan, Mehron, and Ben Nye 424
Figure A.22 Alcohol-​based makeup palettes 425
Figure A.23 Makeup removers 426
Figure A.24 Monster Makers sulfur-​free sculpting clay 426
Figure A.25 PAX Paint and PAX Medium components 427
Figure A.26 Appliance Rubber Mask Grease FX Wheels by Graftobian 428
Figure A.27 Setting sprays 429
Figure A.28 Silicone rubber molds 429
Figure A.29 Sweat Stop by Michael Davy 430
Figure A.30 Water-​Melon silicone gel primer 430
Figure A.31 Yak hair, wig, and beard 431
Figure C.1 Local exhaust nail table 452
Figure C.2 Slot ventilation system 453
Figure C.3 Slot ventilation system 454
xxii
F O R E W O R D
My love for makeup started in 1963 when I was seven years
old. I used to watch old Universal Monster movies on television
and it became a staple in my life. My brothers bought a copy
of the book Do-​It-​Yourself Monster Make-​up Hand Book by
Dick Smith in 1966 for me and it became my go-​to reference
magazine until the fall of 1971 when my drama and English
teacher introduced me to the fourth edition of Stage Makeup
by Richard Corson. That book became my bible of makeup, my
Holy Grail. In the book there were photos of the prosthetic
makeup on Hal Holbrook as Mark Twain by my hero, the great
Dick Smith. I was enthralled by the way he had made his molds,
created the prosthetic appliances, and the application of the
foam latex pieces. I was sold and knew then and there I wanted
to become a professional makeup artist. That fourth edition of
Stage Makeup is still in my library today, although it’s a bit worse
for wear now.
Cut to 1999, I received a call from Jim Glavan who was
introduced to me by my mentor and teacher, Joe Blasco. Jim
wanted to know if I would be interested in contributing to a
book he was working on at the time. It just happened to be
the ninth edition of Stage Makeup. I immediately said yes and
was so excited that I would have a little part in the book that
introduced me to the art of makeup. For the book, I created
a gelatin prosthetic old age makeup. I began by making a face
cast, then sculpted the character, made all the molds and then
completed the final application.
I am so proud to be participating in this new, exciting
all-​color edition of Stage Makeup. I know there are many people
out there like me who reminisce about which edition they
learned from and were inspired by. My greatest hope is that this
edition will be an introduction and provide encouragement to
a new generation of young and talented makeup artists who
will one day look back at this eleventh edition of Stage Makeup
and remember it as the book that inspired them to enter this
wonderful world of makeup.
Matthew W. Mungle
xxiii
vxi
xv
P R E F A C E
Stage Makeup is intended to be used as a text and as a
reference by actors, and by anyone who might in some way be
involved with the makeup, whether as a designer, a director, a
makeup artist, or a teacher.
As a textbook, it can be used by individuals learning either
on their own or in a workshop. Both methods have their
advantages. In learning by yourself, it’s possible to work at your
own convenience and at your own speed, and to experiment
with your own ideas and develop your own techniques. In a
workshop that is not always possible. But a workshop does
provide the advantage of not only having the guidance of a
teacher but of seeing other students’ work and learning from
their successes and failures. If you are, or intend to be, an actor,
it is important that you work on your own face rather than
on someone else’s. Only if you are planning to be a makeup
artist or a teacher is it really useful to work on faces other than
your own.
Whether you are working alone or in a group, taking
photographs of your makeups will enable you to look at your
work objectively. Students seriously interested in makeup as a
profession would do well to take courses in freehand drawing
and to spend some time in art museums, studying paintings and
observing how different artists have achieved their effects. They
should also train themselves to observe people wherever they
go—​not just casually, but analytically, noting color and texture of
the skin and hair, conformation of the wrinkles, and size, shape,
color, texture, and location of any blemishes. Students should
also make note of any indications of a possible profession or
type of work and general lifestyle.
Students would do well, if they have any talent for it at all,
to take a course in acting to help them understand the actor’s
problems. And unless the student has the patience of a saint, the
compassion of a doting mother, and the meticulous fingers of a
jeweler, he or she might do well to consider choosing another
profession.
R.C.
xxv
Another random document with
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 “You’ve missed the last train already,” replied Helen.
“I shall take her in the car to the junction in time for the night
train,” he answered.
“All right.... I shall see you again, shan’t I, Cathie?”
“We shall be back in half an hour,” he said curtly.
When they were out of Helen’s hearing Catherine said:
“Who told you I had to be back in town to-night?”
“I told myself,” he replied. “I insist upon your going back to-night.”
“And supposing I don’t?”
“I can only ask you,” he replied, somewhat subdued, “to avoid
making things unnecessarily unpleasant.”
“Things need not be at all unpleasant,” she cried passionately, “if
only you weren’t such a brute.”
She had not meant to say this.
He smiled a trifle cynically.
“Do you really think I’m a brute?” he asked. “There are lots of
others who would agree with you,” he added encouragingly.
“I certainly think you are,” she replied, determined to uphold her
statement. “Wasn’t it brutal to say you wanted to get rid of me?”
“But it was true.”
“Was it?”
“Quite!”
“Really?”
“If you only knew—Look here: there are moments when, if I could
have had you painlessly extracted, I would have done it. I would
have strangled you with my own fingers if I had not kept control of
them!”
“And so, as I couldn’t be painlessly extracted, you extracted
yourself, eh?”
 “Yes.”
She laughed a trifle hysterically.
“Was it painless?” she enquired archly.
He swore under his breath.
“It was not,” he replied curtly.
Pause.... They were walking on the narrow ridge of the sea-wall,
he in front and she a few paces behind. Neither could see the face of
the other. The tide was coming in.... If they had not been busy with
other matters they might have noticed the loveliness of the scene....
“The fact is,” he said gruffly, “I was in love with you against my
will.”
She had known that for a long while, but she liked to hear him
say it. And she was infected with a childish daring. She laughed
boisterously.
“What?” she cried. “You in love with me?—Surely not? Never—I
don’t believe it, Mr. Verreker.”
He answered, slowly and methodically: “It was so.... I will tell you
about it if you wish to know. When I first heard you play before
Razounov at my house I knew that you were no genius, but a person
of slightly above average ability who might be trained or coerced into
doing something worth while. But there were lots of people like that
whom I refused to teach. I was going to refuse you, though I didn’t
want to. A friend of yours—your fiancé, I supposed at that time—was
offering to pay for your lessons. It seemed a capital excuse for
accepting you as a pupil. To my everlasting regret I grabbed hold of it
eagerly. You came to me once a week and I pumped music into you
at the rate of three guineas a lesson.... Even then I believe I was in
love with you....”
“I must have been,” he continued, “because you were such a little
fool that normally I should have chucked you up. You had a horrible
set of musical bad manners, and not an idea of how to play. I had to
give you huge quantities of myself. I thought then I might create out
of you something it would be worth my while to love. I tried. I admit
you had remarkable receptiveness. You gulped down everything I
offered you.... In fact, I made you. You hadn’t an idea in your head till
I put some there. You couldn’t have played a note at a public concert
unless I had shown you how to. You were absolutely dependent on
me.... When I left your life you went smash. You found you couldn’t
play without me. I was your sole source of inspiration, and you could
no more play without me than a performing monkey will do its tricks
without its keeper.”
“That’s not true,” she protested weakly, but he went on.
“Of course it didn’t really matter in the least my being in love with
you. I had other things to think about. But when you began to be in
love with me, things began to be dangerous. You see it was quite
impossible for me to marry you.”
“Why?” she said sharply.
“Do you really wish to know?” he asked.
“I do.”
“It will offend you, possibly.”
“Never mind.... Tell me....”
He paused before answering.
“Well,” he said, “this is the politest way I can put it. I could not
marry you because you weren’t up to standard—my standard, that
is.”
“What’s the matter with me?”
“You will be offended if I reply.”
“Tell me, please.”
“If you wish,” he said nonchalantly. “To begin with, you are the
most selfish person I have ever met. You are vain, conceited and a
prig. Selfishness runs in all your veins. All your desires are selfish—
all your aims are selfish—nay, nearly all your actions have been
selfish. The only unselfish part of you was the part I compelled you
to assimilate, and that was counterfeit.... God help any man you
marry if he loves you. You will ruin him if you can. If you love him too,
so much the worse for him.... Do you want me to go on?”
She bore all this with amazing calmness. True, she had been in
some manner prepared for it, but she had not expected the
denunciation to be so severe. What surprised her was that it did not
hurt her as much as she had anticipated.
She did not answer his question.
“So you loved me against your will?” she said reflectively.
He nodded.
“Every woman likes to be loved like that,” she remarked daringly.
This speech of hers seemed to infuriate him. He stopped his
walking and turned round to face her.
“If you can extract any satisfaction from the knowledge that I
loved you against my will, have it!” he cried bitterly. “Nay, I’ll even say
this: I love you passionately at this very moment. Take my love!—do
what you like with it!—it is no concern of mine when it has once been
given to you! ... I tried once to give you intellectual and spiritual
sympathy—you showed me that was no use to you! You wanted my
love! Well, now you have it, so be satisfied if you can! You have it,
and also my profound dislike and contempt!”
She thought: If I were to cry now would it have any effect on him?
She tried to cry but could not.
“Turn back now,” he commanded. They commenced the
homeward journey.
“Why did you marry Helen?” she asked.
“Because I liked her and respected her.”
“And because if you married her you felt safe from me, eh?”
“If that were a true statement I would never admit it.”
“But you do not love her?”
“No.”
 “Does she know?”
“She does not know. Do you want her to know?”
“I don’t care whether she knows or not.”
“Well, then, she shall not know....”
They were silent after this for a long while.
The tide was creeping in now through the maze of mud-banks:
when they stopped talking they could hear the water oozing and
splashing amongst the reeds. The thin streak of river had widened
into a broad lake, and over it the sea-gulls were flapping their wings
and crying weirdly. And far in the west where the estuary vanished
into the grey hills the sun was sinking in proud splendour. In the near
distance lay the village, with its line of cottages facing the sea-wall.
Here and there the sun had picked out a window and turned it into a
glittering ruby.
Oh, it was all inexpressibly beautiful, this evening picture, with the
village and the green meadows and the sun and the rising tide! But
Catherine scarcely noticed it. She walked on through the long, stiff
grasses, and was thinking only of herself....

§4
To begin with, she felt very tired and weary. Of course she had
done a good deal that day. She had every reason to be physically
tired. But it was not altogether physical tiredness. She felt like a child
who has been looking forward to something for a long time, and is
disappointed because its expectations are not realized. And again
she felt relieved, as one who has been harbouring a vague dread
and finds that the worst is not half so bad as was thought. And again
she felt sorry, as if both her disappointment and her relief were
things to be regretted and to feel ashamed of. And somewhere—
vaguely—subconsciously—what was the thought that came to her?
A revolutionary thought, a thought that marked an epoch in her life
and development. Nothing less than the thought that the things he
and she had been discussing, the questions that at one time had
seemed the most momentous in her life, were now become by the
sad process of time stale, unmeaning, and out of date. Of historic
and achæological interest, maybe, but not living things as she had
expected them to be living. She had expected to be immensely
moved, immensely stirred by this conversation with him. She had
expected it so confidently that she had been stirred at the thought of
being stirred. She had tuned herself in readiness for a great conflict.
And now the conflict had begun, had lasted and was over. She had
not been stirred. Not that the blows had been light. It was something
in her that gave her a new invulnerability, a strange imperviousness
to blows. Her expectations, her dreads, her excitement, her
preparations for conflict, all had been for nothing. And now that she
realized that they had been for nothing she felt the effect of them—
they made her tired, weary, worn out. The tension snapped. Vaguely
she felt sorry that she was not suffering more acutely: vaguely she
felt that her invulnerability was purchased at a great price. But try as
she would she could not help but feel that her conversation with him
had been a futile disinterment of dead bones.... She was not hurt.
But she was tired—weary—as after a successful and dangerous
operation.
They both felt that they had said all that need be said. On the
way home scarcely a remark passed between them, except once or
twice when he called her attention to the scenery.
He said: “The tide is coming in fast now. It comes in by inches as
you watch it.”
She replied: “Yes,” but she did not think what she was saying.
When they got back to “Seahill,” he disappeared into the garage
to prepare the car for use. She was left for a few moments with
Helen.
Their conversation (lasting for two minutes) was full of amazing
things.
Helen began it.
“Well,” she said, “what do you think of him?”
“He’s very clever.”
 “Yes,” agreed Helen, surprisingly, “and like all clever men he is
rather stupid. He’s so stupid that he thinks I don’t understand him.”
Pause. Catherine was too much astonished to reply.
“Of course he doesn’t love me,” she went on. “I know that, though
he thinks I don’t.... I shouldn’t be at all surprised if he loves you.”
Pause.
“Though of course you and he would never get on at all well
together. You’re not suited.... Now we (he and I) get on splendidly. I
help him with his literary work. The other day he said to me (I had
just finished typing at his dictation): ‘Helen, it’s just splendid to think
that you do all this stuff because you take a living interest in it and
not on my account!’ I was frightfully pleased: I think it was the best
compliment he’s ever paid me.”
Pause.
“Though of course,” a little wistfully, “it wasn’t at all true. I don’t
take a living interest in it at all: I only do it to please him. And I can
only please him by making him think I’m not doing it to please him.
That’s why I say he’s stupid.”
Pause.
“I suppose I shall see you again sometime?”
“Possibly. I don’t know.... I don’t think I shall come again.”
“I hope you will.... I suppose you like him? Well, so do I. That
ought to be something in common between us.”
Pause.
“Oughtn’t it?”
Catherine did not answer. But Helen kissed her very
affectionately. And at that moment Verreker entered in motor-cap
and goggles.
“We’ll catch the 9.40 at the junction,” he said. “Come along!”
A four-seater car stood in the courtyard.
 “Get in the back seat,” he said gruffly.

§5
As the car drew them through the sweet-scented country lanes
Catherine lolled amongst the heavy cushions and pondered. Once
again she had the feeling that had comforted her when she first
realized that her musical career was at an end. It was the feeling that
she was not going to be very disappointed. Once again, too, she was
subtly disappointed at not being disappointed.... Helen had said that
he was stupid. That remark set in motion a whole avalanche of
unspoken ideas that had been gathering patiently about her for some
time. She had not noticed them then, but now as they came tumbling
about her ears she perceived them in bulk as a sudden new
revelation. They shifted Verreker to a less hallowed perspective. The
halo left him and he became a man. And a stupid man at that. She
began to sum him up dispassionately, and was amazed at the results
she came to....
Even his eccentricities—which she had hitherto admired—lost
their glamour and became either vices or the mere foibles of a crank.
His manners were atrocious. He did not raise his hat to her in the
street. When entering and leaving a railway compartment he did not
allow her to take the first place. It was things like those that went to
make up a gentleman. And, frankly, he was not a gentleman. His
rudeness, his brusquerie, his awful bluntness of speech, were vices
which his cleverness might explain but could not excuse. And even
his cleverness—might it not be possible to exaggerate that? He was
not well known: his books were dry and uninteresting—abstruse,
maybe, but extremely tiresome. And even in music, how was it that
he had never made a name at concert playing? One remark of his
which had especially annoyed her had been his blunt asseveration
that her musical success had been derived solely from his
instruction. She could not deny this even to herself, but she found
partial, if illogical, comfort in the thought: If he can make me into a
successful concert pianist, why hasn’t he ever thought it worth while
to make himself one?
 And he had treated her abominably. It gave her a curious
pleasure to discover that. The magnitude of his ill-treatment of her
seemed by a subtle process of ethical cancelling out to wipe away all
record of her own previous misdeeds.
Once again her soul was white, immaculate, redeemed by his
cruelty and her consequent martyrdom. The very thought that his
debt to her was incapable now of being ever repaid put her on the
plane of loftiest altruism. She was still proud, triumphant, superbly
conscious of her own supremacy.
When her ideals had tottered one by one, and at last she had
realized the futility of her musical ambitions, she had thought: Here
goes my last ideal! Henceforth I am without them.... But now she
saw that there had been a survivor that had remained with her even
to the last. And that was her ideal of him—a man, superbly good,
superbly great, fit object of her respect and worship.... Now this ideal
had tottered and fallen also. He was a mere irritable crank,
pedantically clever, perhaps, but rather brutal and, as Helen said,
curiously stupid.
The car went racing up the low hills from the estuary inland....
Was it a case of “sour grapes”? she wondered for a fleeting moment,
but she answered “No” with sufficient emphasis to convince herself.
Of course he had assumed that she loved him. But was that true?
Did she? ... Anyway, there were many reasons for getting married,
and love was only one of them, and perhaps neither the best nor the
most frequent. There was companionship, for instance, and a desire
for home and children and money. One might marry in order to
secure at a cheaper rate the services of a skilled shorthand-typist....
One might even marry to secure part ownership of a motor-car.

§6
At the junction he saw her on the platform, shook hands with her
very quietly and, she had to admit, for him, very politely, and then left
her. She heard him drive off out of the station courtyard, and saw the
headlights of his car flashing over the hill beyond the town....
 An episode in her life was closed.
It was half-past nine. The bookstall had just opened for a few
moments before the arrival of the night train to town. She spent
some time examining the cheap novels it displayed for sale, and
finally with perfect sang-froid she purchased a sevenpenny detective
story, with a paper wrapper depicting a woman in evening dress
sprawled face downwards across some stairs with a revolver by her
side....
The train came in, and she found a comfortable seat next to the
window. “Chelmsford and London only!” the porters called out, and
she smiled quietly. Her fellow travellers were mainly half asleep.
After the train had started she fished in her hand-bag for a sheet
of paper and pencil.... Then, using her book as a desk, she wrote the
following note:
dear mr. hobbs,
How absurd of you to think your invitation had offended me! I am
only too grateful to you, and sorry that I could not have come with
you to-day. But I shall be pleased to accept your invitation for
Monday if you will still have me. I shall like to go into Surrey very
much: I have heard such a lot about it but have never been there. It
will be rather difficult for us to fix up arrangements about meeting
each other, won’t it, so perhaps I had better call at your house to-
morrow afternoon. (I know your address, I think.) I shan’t be able to
stay long, though, as I am going to tea with the St. Luke’s curate, Mr.
Broodbank—do you know him?—a charming and interesting man.
Thanks again for your invitation.—Yrs., etc.,
catherine weston.
Reading it over afterwards she smiled again to herself. Then she
put it in an envelope, addressed the latter, and began to read the
detective story. First she scanned the first paragraph of the first
chapter, then the last paragraph of the last chapter, and then a
paragraph selected haphazard from the middle, this being her
established formula for commencing any book.... After that she
began to read consecutively from the beginning.
 After all, she reflected here and there, where the printed matter
failed to keep its grip on her attention, the long troublesome episode
in her life was over. Henceforth she would be quiet and sedate and
respectable, a lady of perfect manners and breeding. Passion was a
tiresome thing. It was, to use a favourite adjective of Mrs. Lazenby’s,
very “wearing.” ... To-morrow she would have tea with the Rev. Elkin
Broodbank, M.A. (Cantab.), and discuss church missals and
cassocks and Puseyism. On Monday she would go with Mr. Hobbs
on the top of a bus to Reigate. He would be frantically polite and
meekly adoring. He was, at any rate, a gentleman....
The detective story began to be interesting, so she ceased her
nursings, and meanwhile the train went speeding Londonwards....

THE END

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