Issue link: https://digital.copcomm.com/i/1469328
As a small sh in a big pond of so many talented hair artists, I feel very blessed to have been a part of this project. I don't think it's every day that you get the chance to work on, better yet, hair- design a period Western of this caliber. So when I got the call, naturally, I jumped at the chance. I knew this project would be challenging as I have worked with the incredible writer/director Taylor Sheridan on other projects. Boy was I wrong! is was probably one of the hardest most gratifying/ful lling learning experiences I've been a part of. is amazing adventure is set in 1883 and tells the story of where the Dutton family begins their journey to nd their place out west, and a young girl coming of age and trying to nd what becoming a woman looks like for her. B Y T I M M U I R D E P A R T M E N T H E A D H A I R HAIR him once they get to the hotel. e idea was for him to have a beard the whole time and we needed to gure out how much to shave o . We decided between the goatee and the sideburns was best, then I'd lay yak hair in that area on the days that we jumped backward and forward till Tim's own hair grew back in. We colored his beard and maintained the color during the run of the show. e next thing with Tim's beard came when we were shooting episodes 7 & 8. Taylor called and wanted to know if we could add length to the beard to show a passage of time. I explained it could be done and that it would probably take about an hour each day; he said, let's do it. Key make-up artist Bern Kubiak helped me each day. We did this by sectioning o Tim's natural beard and I would lay yak hair to lengthen and make the beard fuller. I used spirit gum to make cleaning each evening easier. e whole process from start to nish of the make-up was about an hour, with the laying and trimming taking about 40 minutes. e show starts with the women looking their best and then progressively getting dirtier and weathered as the journey takes place. We applied sunscreen to all the actors to protect them from the elements and a light layer of foundation or bronzer to protect as well. I used "Koh Gen Do" moisturizing foundation on the ladies since it lends itself so well to HD lming. We'd use "Koh Gen Do" moist cleansing cream at the end of the day to get all the make-up and dirt o the actors. We used Kiehl's SPF 50, along with Glossier's sunscreen and I choose Tom Ford because it had a little more redness that gave the actors a sun-kissed tan look. As time passed, we added Bluebird Sunburn to the mix to give the weathered look for the journey. Makeup For Ever's aqua liners worked great for the lips to start with and we matched the colors with the actress's lips to get the one closest to their natural color. Glossier boy brow was used for the brows and a pass of ey're Real mascara was used to make sure their eyes weren't lost. We had our challenge with the weather. When we started in Ft. Worth, Texas, the temperature was 105 degrees and then four months later in Montana, in the single digits. Shannon Hokama, my third, recom- mended Rey Medrano who lives in Texas. He became our fourth, and I put him in charge of hiring the local crew, who were amazing. We used not only our own Lindsey/Cole's mix for dirt, but also Dirt Works powders which worked well in the sweaty heat. Blood was an important factor in this series as well. We used KD mouth blood and Fleet Street. We used e Dark Arts Company spray blood because the color is great and it's easy to get o the skin and clothes; always a plus. With seven di erent locations in Texas and one in Montana braving the extremes, I'm truly grateful to my crew and Texas crew of Ashley Rike, Dalton Spence, Marlene Whiton and Patti Burris. Our special e ects were designed by Abigal Steele and Heather Henry. It was quite the challenge, but with this great crew, we were able to have a production to be proud of. •