Issue link: https://digital.copcomm.com/i/1545191
14 • THE ARTISAN SUMMER 2026 LANA HOROCHOWSKI, Department Head Make-Up: Translating a highly stylized 1930's make-up look into something that reads beautifully in both black-and-white and color is less about copying the period literally and more about understanding why it looked the way it did on camera—and then adapting that logic to modern cinematography. In the 1930s, especially in early Hollywood Golden Age cinema, make-up was engineered for harsh lighting and so-focus lenses. at's why you see very specific features: sharply defined brows, sculpted lips (like the "Cupid's bow"), and high-contrast contouring. But those choices were oen technically driven, not purely aesthetic. Regardless, it is how people visually remember that time period, so we went with it. Since we were shooting in color at the same time, we had to test a bunch of different things that could work in both since we shot simultaneously. So, we came up with our own approach rather than use the old- school techniques Black-and-white cinematography reduces everything to grayscale, so what matters is contrast and separation. A red lipstick and a brown lipstick might look identical in monochrome if their tonal values match. We needed to use colors that pop in grayscale but didn't overwhelm in color. We wanted to use products that were as true to the period as we could get but also tricky as those products looked very flat in color. Using metallics on top of lips, cheeks, and eyes really helped because it highlighted the exacts parts of the face which the period matte/flat colors seemed to dull but using product with too much shine and life in them made the faces super shiny and greasy in the color version, so the highlight of actual shimmer and glitter hit the light in the exact right places. 1930's make-up had signatures: • in, arched brows • Small precise lips We wanted to honor that, as well as recognize that these were Li Jun Li Lamone Morris