Issue link: http://digital.copcomm.com/i/1277606
THEARTISAN SUMMER 2020 • 41 THEARTISAN SUMMER 2020 • 41 carnival look. She must have imagined this was the perfect fi n- ishing touch for her make-up that she would wear to meet her online crush Tyler for the fi rst time. When she realizes that Tyler is Nate, tears appear on her cheeks as the rhinestones dip in and out of the low light, alluding to the glimmer of hope that Jules had before this realization. FANTASYMAKEUP Sometimes make-up was used in a surreal way to bring to life the characters' fantasies or hallucinations. In episode two, when Rue and Jules are in Jules' bedroom fort waiting for their drugs to kick in, Rue says, "I'm so happy," and cries glitter tears, while Jules' face turns into a galaxy of blurry glitter as she wonders whether she can feel anything yet. Fantasy functions as survival for Cassie in episode eight, as we go back-and-forth between seeing her laying on an operating table undergoing an abortion, and seeing her fi gure skating with an ethereal face of rhinestones. This fantasy of herself swirling around on the ice represents her childhood dreams, and gives Cassie something to hold onto so that she can survive the next 10 minutes of her life. For Rue's fantasy of her and Jules killing Nate in episode eight, I knew the light in the scene would be coming from a fi re, so I wanted to use something on their faces that would refl ect the low light and fi t the over-the-top murder-y mood. Like all of the fantastical moments, the make-up needed to feel completely different from the real-life scenes. I used pre-made stick-on face decals by FaceLace, and I especially loved how Jules' eye spikes actually looked like a weapon. FAKEPENISESANDLIPTATTOOS In addition to showcasing beauty make-up looks, the scripts also called for several prosthetic designs. These ranged from beat-up looks to lip tattoo appliances to strap-on penises for a couple of very specifi c male reproductive organ "looks" that were required. I designed these prosthetics and Jason Collins brought them to life via his SFX company Autonomous FX. The most complex design was the lip tattoo appliance, of which two were made: one for Rue and one for Jules to wear while they got their lower lips tattooed by Ashtray in episode fi ve. The camera would see this process ultra close-up, so I needed to design something hyper-realistic that could hold up against a tattoo gun (w/o needle) which would deposit ink on top of the prosthetics. The appliance was comprised of a plastic encasing to go over the actors' lower teeth and gums. A window for the actors' frontal lower teeth was carved into the plastic encasing, so that the real texture of their teeth would be seen in a close-up. The fabricated parts that the cameras saw were the actors' lower gums and inner lower lip surfaces. A thin silicone sheet with "RULES" already tattooed on it (in slight 3D) was attached to the frontal gum line of the appliance and was to be held in place by the actors' fi ngers. CONCLUSION&APPRECIATION By the end of the season, the interior of the make-up trailer had become a museum of mood boards and screen shots of everything that my incredible team and I had created, all fl ung up on the walls and illuminated with remote control-operated color-changing string lights. This was a tiny glimpse of the explosion of color that was going to happen when the Euphoria make-up looks made their way back to the faces of Gen Z on Instagram—a full circle return to the community that inspired us from the beginning. The core Euphoria team was comprised of myself, Kirsten Coleman (Assistant Department Head Make-up), Angie Johnson and Tara Lang-Shah (alternating Department Thirds). I would like to thank this talented and inspiring group of women for sup- porting me, trusting in my vision, and infusing it with their own artistry and spectacular skills. very unkept look. It was very hard to NOT be a hair stylist and overly style her hair! She is so stunning and glams up easily. I had to give her a tom boy-ish vibe. She would joke and say, "I'm the most diffi cult number one you'll ever have" and I would respond, "Oh … my little cosmetologist" because on most days she would do the majority of the work diffusing her own hair. We would always start with Cantu's Leave-In Curl Cream and depending on the day and weather, would layer in Quidad products, and maintained her look on set with Ouai's Wave Spray (which had just enough stickiness to keep her hair from swelling and getting too big). Then came the daunting lineup of young starlets who all wanted not just 'a look' but in some cases, too many 'looks' for an episode. I enlisted the help of Kaity Licina as my key hair styl- ist for the pilot and later again on the series. One of the biggest moments of appreciation for her skills came during the camera test for Barbie Ferreira, a plus-sized model and infl uencer-turned- actress, playing Kat. I was absolutely overwhelmed and stumped on getting the look right for her. Originally, the director and producers wanted Kat to have a bad perm and dental braces so her style would evolve to a renewed sense of self. I knew better than to commit to a perm, so we tested permed wigs and dowdy looks with a few hairpieces. It just wasn't quite right. Sometimes in the moment of trying to deliver the creator's vision, it is easy to forget that the actor has to go on camera wearing it! Barbie gra- ciously brought in a reference for how she saw her character. She helped us get to the heart of her character. Kaity took Barbie's shoulder-length hair up to a chin-length blunt cut and I formu- lated a coffee bean brown demi-permanent color by Joico. It was a success! The character Kat was born on that day we referred HAIR STYLING Continued from page 39