Issue link: https://digital.copcomm.com/i/1179836
66 • THE ARTISAN FALL 2019 Key) using a full-lace non-custom human hair Afro wig. She shaped the hairline to realistically fi t his face and cut it in a shape to differentiate between the other characters wearing Afros. Carla applied the wig, making the decision that Jerry Jones' piece should be a medium brown color to complement his complexion. D'Urville Martin (Wesley Snipes) wore a non-custom wig designed by Stacey and applied by Carla. Stacey altered the fi t to complement the shape of his head by cutting and sewing the lace where needed. She cut the hair & styled it with a side-combed and parted classic style. Lillie Frierson and Debbie Pierce headed the back- ground styles. More than 200 wigs were used, both human and synthetic. The hair styles were done using Marcel irons, roller sets and pin curls. Co-department Heads Vera Steimberg and Debra Denson ran the make-up side of the house. Together, they researched the various types of make-up looks worn in the '70s and executed these looks to emulate the diverse decade. To make sure all looks coincided and complemented each other to achieve the gilt-fi nished looks envisioned for the movie, the co-department make- up and hair heads collaborated closely with costume designer Ruth Carter and director Craig Brewer. Vera and Debra's department had a full team of make-up art- ists to execute an array of original '70s colored shimmer shadows, berry blushes, lipsticks, glosses and nail pol- ishes. Eyebrows then were natural and brushed, the polar opposite of today's heavily painted-on look. Notably, the make-up team was supported by Deborah Humphries, Martha Callender, Margaret Prentice, Mark Garbarino, Joanetta Stowers, Laini Thompson, Lisa Deveaux, and Ben Robin who worked hard through the elements for hours on end. In the '70s, facial hair was a staple to the era and an important factor to show in the movie on screen. The many lead actors, all talent and background in front of the camera had facial hair added or groomed to make them look like the period 30-plus years ago. Men's facial hair was hand laid, and for some, facial hairpieces of mustaches, goatees, beards and sideburns were meticulously applied. The make-up teams created a range of looks for the Dolemite cast—beginning with the dual challenge of Rudy/ Dolemite. Vera did Rudy's make-up. She purposefully left his appearance very dewy with a shine. The shine creates an effect characteristic of the way '70s make-up appeared on screen at that time. His tattoos were covered when needed and his mustache was unlined to extend past his lip line. Lady Reed was transformed from an everyday woman to stage performer by heightening her glam. Beautiful false eyelashes, shimmering eye shadows of blue, green and pink were applied and her lips where brushed with reds, pinks and gold, and pink sheer gloss to complement colors in her wardrobe. Primer and sealer was an important part of this make-up. Snipes' D'Urville Martin wears a lace mustache with handlebars that extend past the corners of his mouth. The team also applied an acrylic pinky nail to add to the fl am- boyance of his role. The over-the-top gut gag was made with liquid latex, tissue and blood. To create the Jerry Jones character, artist Margaret Prentice applied a hand- laid mustache to Keegan-Michael Key every day. Make-up was also used to create bruises, discolored teeth and track marks without the use of prosthetics. Blood and dirt were also used on the hobo characters.• Photos courtesy of Stacey Morris Carla Farmer, Da'Vine Joy Randolph as Lady Reed and co-department head make-up Debra Denson